Alfred Schnittke

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ISMN 979-0-003-01903-1

9<HULALD=abjadb> SIK 4/5614 second edition

a l f r e d

s c h n i t t k e

s i k o r s k i m u s i k v e r l a g e h a m b u r gsik 4/5614

sikorski Musikverlage20139 haMburg

phone: (+ 49) (0)40 / 41 41 00-0 · fax: (+ 49) (0)40 / 41 41 00-41www.sikorski.de · [email protected]

5 j u n e 2 0 1 4

Cover Photo by Yngvild Sørbye

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Biography · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 6

Biographie · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 7

remarks on alfred schnittke · · · · · · · · · · · · · · · · 8

anmerkungen zu alfred schnittke · · · · · · · · · · 11

awards and prizes · · · · · · · · · · · · · · · · · · · · · · · · · 14

stage works · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 15

orchestral works · · · · · · · · · · · · · · · · · · · · · · · · 21

works for solo instrument (s ) & orchestra · · 38

vocal works · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 48

ensemBle music · · · · · · · · · · · · · · · · · · · · · · · · · · · · 60

chamBer music · · · · · · · · · · · · · · · · · · · · · · · · · · · · 65

solo works · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 79

works for keyBoard · · · · · · · · · · · · · · · · · · · · · · · 81

cadenzas · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 87

arrangements and transcriptions · · · · · · · · · 89

incidental music to filmsf e a t u r e f i l m s · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 92t v p r o d u c t i o n s · · · · · · · · · · · · · · · · · · · · · · · · · · · 99a n i m a t e d c a r t o o n s · · · · · · · · · · · · · · · · · · · · · · · 102d o c u m e n t a r y f i l m s · · · · · · · · · · · · · · · · · · · · · · · 104

suites from incidental music to films · · · · · 105

incidental music to plays · · · · · · · · · · · · · · · · · 115

theoretical works · · · · · · · · · · · · · · · · · · · · · · · 119

chronological worklist · · · · · · · · · · · · · · · · · 121

title listing · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 134

c o n t e n t s

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B i o g r a p h y

alfred schnittke was born in 1934 in engels, the capital of the former volga german repu-blic (now the district of saratov in central russia). his mother, Maria vogel, was a teacher of german, and his father, harry schnittke, a Jewish journalist and translator, who had been born in Frankfurt am Main. schnittke’s musical career began in 1946 in vienna, where his father worked for a newspaper at the time. he had private piano lessons, went to operas and concerts, and wrote his first compositions. after moving to Moscow in 1948, schnittke first studied to be a choral conductor. subsequently, from 1953 to 1958, he studied compo-sition and counterpoint with evgeni golubev and instrumentation with Nikolai rakov at the Moscow Conservatory. at this time he was influenced by Filip gershkovich, a pupil of Webern, who lived in Moscow. after three years in which he was a postgraduate student schnittke taught instrumentation at the Moscow Conservatory from 1962 until 1972. here he began to publish numerous theoretical works concerned with some of the problems associated with contemporary music. Temporarily he worked at the Moscow experimental studio for electronic Music.

From 1975 onwards his music began to be played at all the important contemporary music festivals, and in the 1980s it was included in the concert programmes of leading orchestras throughout the world. Festivals and concert cycles devoted to his works, were held in many cities, including Moscow, stockholm, london, vienna, lucerne, Cologne, hamburg and berlin. in 1991 schnittke established his residence in hamburg where he was professor of composition at the hamburg Musikhochschule from 1989 to 1994.

he was an honorary fellow of the royal academy of Music in london, and a member of the Free academy of arts in hamburg. he was also a member of the royal swedish academy of Music in stockholm, of the academy of arts in berlin, the bavarian academy of Fine arts in Munich, and the american academy of arts and letters in New York.

During the last years of his life schnittke suffered from a severe illness, from which he finally died on 3 august 1998.

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B i o g r a p h i e

alfred schnittke wurde 1934 in engels, der hauptstadt der damaligen Wolgadeutschen re-publik (heute gebiet saratow, Zentralrussland), geboren. seine Mutter, Maria vogel, war Deutschlehrerin und sein vater, harry schnittke, der aus einer jüdischen Familie aus Frank-furt am Main stammte, arbeitete als Journalist und Übersetzer. schnittkes musikalische ausbildung begann 1946 in Wien, wo der vater bei einer Zeitung arbeitete. er erhielt kla-vierunterricht, erlebte opern- und konzertaufführungen und unternahm erste kompositi-onsversuche. Nach der rückkehr nach Moskau im Jahr 1948, absolvierte schnittke zunächst eine ausbildung als Chordirigent. anschließend studierte er von 1953 bis 1958 am Moskauer konservatorium komposition und kontrapunkt (bei Jewgeni golubew) sowie instrumentati-on (bei Nikolai rakow). Wesentliche anregungen erhielt er durch den in Moskau lebenden Webern-schüler Philipp herschkowitsch. Nach einer dreijährigen aspirantur war schnittke von 1962 bis 1972 als lehrer für instrumentation am Moskauer konservatorium tätig. seit dieser Zeit veröffentlichte er zahlreiche musiktheoretische arbeiten zu Fragen der zeitge-nössischen Musik. Zeitweilig arbeitete er auch am experimentalstudio für elektronische Musik in Moskau.

seit 1975 wurden schnittkes Werke bei allen wichtigen Festivals der Neuen Musik gespielt, in den achtziger Jahren fanden sie eingang in die konzertprogramme führender kulturor-chester. seinem schaffen gewidmete Festivals und zyklische aufführungen seiner Werke fanden u.a. in Moskau, stockholm, london, Wien, luzern, köln, hamburg und berlin statt. 1991 verlegte der komponist seinen ständigen Wohnsitz nach hamburg, wo er von 1989 bis 1994 als leiter einer kompositionsklasse an der hamburger Musikhochschule unterrichtete.

er war Mitglied der royal academy of Music in london und der Freien akademie der künste in hamburg. Darüber hinaus wurde er an die königlichen Musikakademie in stock-holm, die akademie der künste in berlin, die bayerischen akademie der schönen künste in München und an die american academy of arts and letters in New York berufen.

in den letzten lebensjahren von schwerer krankheit gezeichnet, verstarb schnittke am 3. august 1998.

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The reason for alfred schnittke’s prominent position among contemporary composers is threefold: his abundant oeuvre, the great popularity enjoyed by his works and the thrilling emotionality of his music.

When looking for explanations for this music’s popularity, one should bear several points in mind: alfred schnittke is no avant-gardist, if one takes this term to mean an artist whose chief concern is experimentation with sound. instead, he offers the listener bridges towards comprehension, above all to the listener who believes to perceive familiar material in his music. schnittke’s language is understood by countless people throughout the world be-cause his music contains a high emotional potential and because it is expressive, suggestive and associative.

The feeling of homelessness is more widespread in these unsettled times than in any other previous period. schnittke shared the fate of those people belonging to several national groups and yet not fully belonging to any of them. his father was a german Jew, his mother a volga german. he grew up in the soviet union. already as a young man he felt like a stranger in his homeland. later on, he began to feel like a cosmopolitan, like a person wi-thout national boundaries. Yet he still felt foreign in several respects: as a german, as a Jew and as one who came from the soviet union. This reminds us of gustav Mahler, who also believed himself to be thrice homeless.

schnittke’s music, however, has nothing to do with any cosmopolitan way of thinking or sentiments. it is based upon solid pillars of russian and german musical traditions. The confrontation with alexander skryabin, igor stravinsky, sergei Prokofiev and Dmitri shosta-kovich, to name only these four great russians, was important in his artistic development. on the other hand, he felt closely bound to the german musical tradition. For him, Johann sebastian bach was the alpha and omega of music. he loved the music of gustav Mahler and alban berg, surely because of their highly expressive quality. and for a time, he never tired of studying anton Webern‘s music.

Considering schnittke’s originality and the narrow-mindedness of soviet cultural politics, it is no wonder that the composer’s cause was hardly furthered in the soviet union. For a long time his art was considered mannered, experimental, heavily leaning on West europe-an avant-gardism. his compositions were not among those considered suitable to represent the soviet union. and since he was in no way prepared to make concessions, he was for-bidden to leave the country for many years. burlesque, grotesque reports on the desperate attempts on the part of soviet cultural functionaries to thwart performances of schnittke’s works abroad are still making the rounds. For it was abroad, outside of the soviet union, that his fame began to spread. ever more frequent performances at international festivals starting in 1966 roused curiosity about the unknown soviet composer.

r e m a r k s o n a l f r e d s c h n i t t k e

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The years 1963–1968 were the crucial phase in schnittke’s compositional development. he intensively came to terms with several directions of the avant-garde of that time, as well as with the rules of twelve-note technique and the principles of serialism – a direction with which he had little sympathy. he took offence at the idea of automatism latent in this me-thod. Many years later, schnittke described his decision to turn his back on serialism and go his own way as follows: “upon arriving at the last stop, i decided to get off the already overcrowded train. [...] i looked around for a way of giving my music a richer associative content. i tried to romantically give in to my feelings and to absorb literary and visual mo-dels as well.”

in 1968 schnittke formulated his idea of ‘polystylism’, a concept that has since become famous. Polystylism refers to composition in different layers, a dialogue with the musical past.

“our time”, schnittke once stated, “is different from earlier times in terms of musical re-ception. in earlier times, the only available music was that of the past hundred years. For us, the past is more present than it was for earlier generations. We enter into a dialogue with the past as if it were a dialogue with folklore. [...] The composer of the present day cannot avoid the musical past, which presents itself daily. [...] We are capable of living in different epochs.”

it must be emphatically stated that schnittke’s ‘polystylism’, his plurality of styles, compo-sition in layers, has nothing whatsoever to do with eclecticism. Nor should it be mistaken for the stylistic masquerades so beloved by igor stravinsky. even the handy label ‘music about music’ hardly does it justice. Decisive for schnittke is that the music of the past, quoted or evoked in many of his works, is constantly confronted with the musical language of the present. The important thing here is the dialogue between the past and the present, as schnittke experienced it, construed it and reflected upon it. if his procedure is in any way comparable to anyone else’s, then far less with stravinsky’s than with Mahler and shostakovich’s procedures.

alfred schnittke was an extremely critical person. he loved to consider things carefully, to balance one aspect against another; his way of thinking was truly dialectical. When one immerses oneself in his statements on basic artistic questions and on his own music, one is struck by the frequently recurring “on the one hand ... but on the other hand.” scepticism, challenge, remaining undecided and objection are especially characteristic of schnittke. he commented on his Q u a s i u n a s o n a t a in 1968 as follows: “The piece is a bor-derline case of a sonata form. This form is challenged and at the same time appears not to materialise – by then the sonata is already over. it is like the Fellini film that sees itself as a narrative on how difficult and impossible it is to make the film. and they don’t make the film, but in the meantime the film has already come to exist.”


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each work of schnittke’s is a spiritual adventure in the sense that the listener can never know the outcome in advance. he is constantly kept in suspense and has no idea what’s coming, where the development is leading. it seems typical of schnittke that conflicts usu-ally are not resolved – many pieces end in a state of indecision.

Terror, threats, dread, mourning and proximity to death are part and parcel of the music of schnittke. significantly, several of his works have a requiem-like character. From 1972 until 1976, he composed the P i a n o Q u i n t e t in memory of his beloved mother; this work was transcribed into an orchestral work entitled i n m e m o r i a m in 1978. The compo-sition of the 1975 r e q u i e m is closely connected to this event. in 1984/1985 followed r i t u a l for orchestra – a composition in memory of the victims of the second World War and a gloomy evocation of terror. other in memoriam works were written in memory of closely associated artists and friends such as gogol, shostakovich, the violinist oleg kagan and the director larisa shepitko.

in my opinion, schnittke’s instrumental movements expressing obsession belong to his most impressive ones. The middle movement of the v i o l a C o n c e r t o comes to mind, and above all the second movement of the s o n a t a f o r v i o l o n c e l l o a n d P i a -n o , a movement that increases to the point of paroxysm. Music rarely comes as close to madness as it does here.

alfred schnittke was vitally interested in the expansion of the vocabulary of music, for the inclusion of new sonorities. as much as he appreciated and valued technological progress in the arts, this alone was never his goal, but only a means towards heightened expressi-on. his chief concern remained the statement, the message. he criticised some areas of new music for being too concerned with the rational aspect and neglecting the emotional aspect of music. he spoke out for art in which reason and emotion are held in balance. This balance was at the same time his criterion for the effect of a piece. “The public is not only interested”, he once stated, “in the external qualities of a piece of music, but also in the psychological content of the subject and the plot, and if this content is inadequate, then the public loses interest. [...] i maintain: music will find its audience if it has been written with conviction and is strong in thought.”

Wherein lies the secret of alfred schnittke’s worldwide charisma? i believe it is to be found in the strong similarity of his music to language. it is a suggestive musical language, rich in associations, readily understood by many because it contains experiences relevant to us all. This music moves us deeply.

Constantin Floros


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a n m e r k u n g e n z u a l f r e d s c h n i t t k e

Dreierlei begründet die stellung, die alfred schnittke unter den prominenten komponisten der gegenwart einnimmt: sein überaus reichhaltiges schaffen, die große Popularität, die seine Werke genießen, und die hinreißende emotionalität seiner Musik.

stellt man Überlegungen darüber an, wie sich die enorme beliebtheit seiner Musik erklä-ren lässt, so sollte man mehreres bedenken: alfred schnittke ist kein avantgardist, wenn man darunter einen künstler versteht, dem vor allem das klangexperiment am herzen liegt. er bietet dem hörer brücken – dem hörer, der in seiner Musik vertrautes zu verneh-men meint. schnittkes klangsprache wird von ungezählten Menschen in der ganzen Welt verstanden, weil seine Musik ein hohes emotionales Potential enthält, weil sie expressiv, suggestiv und assoziativ ist.

Das gefühl der heimatlosigkeit ist in unserer bewegten Zeit stärker verbreitet als in jeder anderen Zeit. schnittke teilte das schicksal jener, die mehreren nationalen gruppen an-gehören und trotzdem zwischen den Welten stehen. sein vater war deutscher Jude, seine Mutter Wolgadeutsche. er wuchs in der sowjetunion auf. schon als junger Mann hatte er das gefühl, in der heimat fremd zu sein. später begann er sich als kosmopolit zu fühlen, als ein Mensch, in dessen empfinden es eigentlich keine landesgrenzen gäbe. und den-noch fühlte er sich in mehrfacher hinsicht fremd: als Deutscher, als Jude und als einer, der aus der sowjetunion kam. Das erinnert an die befindlichkeit gustav Mahlers, der sich ebenfalls dreifach heimatlos wähnte.

schnittkes Musik hat mit kosmopolitischer gesinnung nichts gemein. sie basiert auf festen Pfeilern der Tradition russischer und deutscher Musik. Wichtig für seine kompositorische entwicklung war die auseinandersetzung mit alexander skrjabin, mit igor strawinsky, mit sergej Prokofjew und mit Dmitri schostakowitsch – um nur diese vier großen russen zu nennen. andererseits fühlte er sich der Tradition deutscher Musik verbunden. Johann se-bastian bach war für ihn das alpha und das omega der Musik. er hat die Musik gustav Mahlers und alban bergs geliebt – sicherlich um ihrer expressiven Qualitäten willen. und eine Zeit lang wurde er nicht müde, die Musik anton von Weberns zu studieren.

bedenkt man schnittkes originalität und die borniertheit der sowjetischen kulturpolitik, so nimmt es nicht wunder, dass er in der sowjetunion als komponist kaum gefördert wurde. seine kunst galt lange Zeit als manieriert, experimentell, dem westeuropäischen avantgar-dismus zugewandt. seine kompositionen gehörten nicht zu den Werken, die man für ge-eignet hielt, die sowjetische kunst zu repräsentieren. und da er in keiner Weise bereit war, Zugeständnisse zu machen, durfte er viele Jahre nicht ausreisen. immer noch kursieren skur-ril-groteske berichte über die verzweifelten bemühungen sowjetischer kulturfunktionäre, aufführungen seiner Werke im ausland zu hintertreiben. Denn zuerst im ausland verbrei-tete sich schnittkes ruhm. immer häufigere aufführungen bei internationalen Festivals seit 1966 weckten die Neugier auf den bis dahin wenig bekannten sowjetischen komponisten.

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in schnittkes kompositorischer entwicklung stellten die Jahre 1963 bis 1968 die kritische Phase dar. in dieser Zeit setzte er sich mit mehreren richtungen der damaligen musika-lischen avantgarde intensiv auseinander, ebenso mit den regeln der Zwölftontechnik wie mit den Prinzipien des serialismus – einer richtung, mit der er sich nicht anfreunden konn-te. er nahm anstoß an der idee des automatismus, der in dieser Methode steckt. seinen entschluss, dem serialismus den rücken zu kehren und eigene Wege zu beschreiten, be-schrieb er viele Jahre später so: „bei der letzten station angelangt, beschloss ich, aus dem bereits überfüllten Zug auszusteigen. [...] ich sah mich also nach einer Möglichkeit um, meiner Musik wieder einen reicheren assoziativen gehalt zu geben. ich versuchte, mich romantisch meinen gefühlen auszuliefern, ich versuchte auch, literarische und visuelle Modelle auszufüllen.“

im Jahr 1968 formulierte schnittke sein Modell der ,Polystilistik‘ – ein inzwischen berühmt gewordenes konzept. Polystilistik meint das komponieren in unterschiedlichen schichten, den Dialog mit der musikalischen vergangenheit.

„unsere Zeit“ – so äußerte er einmal – „unterscheidet sich in der Musikrezeption von dem, was früher war. Damals gab es nur die Musik der letzten hundert Jahre. Für uns wird das vergangene aktueller als für frühere generationen. Wir treten in einen Dialog mit der ver-gangenheit ein, als sei das ein Dialog mit der Folklore. [...] Der komponist der gegenwart kann nicht an der täglich sich darbietenden musikalischen vergangenheit vorbeigehen. [...] Wir sind fähig, in verschiedenen Zeiten zu leben.“

Mit allem Nachdruck sei betont: schnittkes ,Polystilistik‘, sein stilpluralismus, das kom-ponieren in schichten, hat mit eklektizismus überhaupt nichts zu tun. ebensowenig darf sie mit jenen stilmaskeraden verwechselt werden, die igor strawinsky so liebte. selbst die griffige Formel ,Musik über Musik‘ wird ihr nicht gerecht. entscheidend für schnittke ist, dass die vergangene Musik, die viele seiner Werke zitieren oder evozieren, stets mit der gegenwärtigen klangsprache konfrontiert wird. Wichtig für ihn ist der Dialog der vergan-genheit mit der gegenwart, wie er sie erlebte, auffasste und reflektierte. Wenn sein verfah-ren überhaupt vergleiche zulässt, dann weniger mit strawinsky, viel eher mit Mahler und schostakowitsch.

alfred schnittke war ein äußerst kritischer Mensch. er liebte das abwägen, das Äquili-brieren; sein Denken war genuin dialektisch. vertieft man sich in seine Äußerungen über grundsätzliche Fragen der kunst und über seine eigene Musik, so fällt das einerseits und das andererseits auf. besonders bezeichnend für ihn ist die skepsis, das in-Frage-stellen, das in-der-schwebe-bleiben, der einspruch. so äußerte er 1968 über Q u a s i u n a s o n a t a für violine und klavier: „Das stück ist der grenzfall einer sonatenform. sie wird gleich-zeitig in Frage gestellt und scheint nicht zustande zu kommen – da ist die sonate schon zu ende. es ist so wie in Fellinis Film, der sich eigentlich nur als eine erzählung darüber

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begreift, wie schwierig und unmöglich es ist, den Film zu machen. und der wird auch nicht gemacht, aber inzwischen ist der Film schon entstanden.“

Jedes Werk schnittkes ist ein geistiges abenteuer in dem sinne, dass der hörer, der einem stück lauscht, den ausgang nicht erraten kann. er wird ständig in spannung gehalten, hat keine ahnung, was ihn erwartet, wohin die entwicklung führt. Typisch für schnittke scheint zu sein, dass konflikte meist nicht gelöst werden – viele stücke enden unentschieden.

schrecken, bedrohung, grauen, Trauer und Todesnähe sind der Musik schnittkes einge-schrieben. bezeichnenderweise tragen mehrere seiner Werke requiemhaften Charakter. 1972–1976 komponierte er das k l a v i e r q u i n t e t t auf den Tod seiner geliebten Mutter, welches er 1978 zu einem orchesterwerk mit dem Titel i n m e m o r i a m umarbeitete. Mit diesem ereignis hängt die entstehung des r e q u i e m s von 1975 zusammen. 1984/1985 folgt r i t u a l für orchester – eine gedenkkomposition für die opfer des Zweiten Welt-krieges, zugleich eine düstere evokation des schreckens. andere in memoriam-Werke entstanden zum gedenken an nahestehende künstler und Freunde wie gogol, schostako-witsch, den geiger oleg kagan und die regisseurin larissa schepitko.

Zu schnittkes eindrucksvollsten instrumentalsätzen gehören meines erachtens jene, die obsessives zum ausdruck bringen. ich denke an den mittleren satz des b r a t s c h e n -k o n z e r t s und vor allem an den zweiten satz der s o n a t e f ü r v i o l o n c e l l o u n d k l a v i e r , einen satz, der sich zum Paroxysmus steigert. Nur selten ist Musik dem Wahnsinn so nahe wie hier.

alfred schnittke interessierte sich lebhaft für die erweiterung der klangräume, für die erschließung neuer sonoritäten. so sehr er den technologischen Fortschritt in der kunst schätzte, war ihm dieser doch nicht selbstzweck, sondern nur Mittel zum ausdruck. sein primäres anliegen galt der aussage. an manchen richtungen der Neuen Musik kritisierte er, dass sie sich nur auf das rationale kaprizieren und das emotionale sträflich vernach-lässigen. er plädierte für eine kunst, in der sich rationalität und emotionalität die Waage halten. Dieses gleichgewicht war ihm zugleich der Maßstab für die Wirkung eines stücks. „Das Publikum interessiert sich“, so erklärte er einmal, „nicht nur für die äußeren Quali-täten einer Musik, sondern auch für den psychologischen gehalt des sujets und der hand-lung. und wenn dieser gehalt dürftig ist, dann verliert das Publikum das interesse. [...] ich bleibe dabei: Die Musik findet ihr Publikum, wenn sie mit Überzeugung geschrieben ist und wirklich gedankliches enthält.“

Worin liegt das geheimnis der globalen ausstrahlung alfred schnittkes? ich meine, es liegt in der stark ausgeprägten sprachähnlichkeit seiner Musik. sie ist eine an assoziativem rei-che, suggestive klangsprache, die von vielen verstanden wird, weil sie erfahrungen enthält, die uns alle angehen. Diese Musik bewegt uns zutiefst.

Constantin Floros

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■ state Prize of the russian soviet Federative socialist republic [1986]

■ Nika Film Prize [1989]

■ austrian state Prize [1991]

■ Praemium imperiale, Tokyo [1992]

■ bach Prize, hamburg [1992]

■ russian state Prize ‘Triumph’ [1993]

■ The great Distinguished service Cross with star of the Federal republic of germany [1994]

■ honorary Medal of the hamburg Free academy of arts [1994]

■ austrian Decoration for science and art [1995]

■ russian Culture Prize ‘slava’ (gloria) [1998]

a w a r d s a n d p r i z e s

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s t a g e w o r k s

the eleventh commandment (The luCkY MaN) 1962opera in two actslibretto by Marina Churova, georgi ansimov and alfred schnittke

Duration: ~120’

sketches in piano score only

laByrinths 1971ballet in five episodeslibretto by vladimir vasilyev

d r a m at i s p e r s o n a e : ‘he’ – ‘she’

6 perc (flex, temple bl, bongos, 4 tom-t, side dr, cym, 13 gongs, tubular bells, glsp, xyl, vibr, marimba). cel. piano. hpd. org. strings (3/3/3/3/1)

Duration: 35’

Première of the first episode: 1972, Moscow, all-union ballet CompetitionChamber orchestra of the bolshoi Theatre – vladimir vasilyev (choreographer) – adolf bruk (conductor)

Première of the complete ballet: 7 June 1978, leningrad, academic Choir hallold and Modern Music orchestra – eduard serov (conductor)

© sikorski, hamburg, for the world, except cis

der gelBe klang (The YelloW souND) 1973-1974Multimedia motion theatre for pantomime, soprano, mixed choir (tape) and instru-mental ensemblelibretto by vasily kandinsky – russian version by alfred schnittke, german version by Jörg Morgener (based on the original text by kandinsky)

d r a m at i s p e r s o n a e : Five yellow giants – Child in white – big man in black – indistinct creatures – People in loose garments – People in ballet costumes

0.0.1(Eb clar).0 – 0.1.1.0 – 4 perc (timp, flex, 2 temple bl, wood bl, 3 tom-t, side dr, bass, dr, 3 susp.cym, 3 tam-t, tubular bells, glsp, vibr, marimba). el.guit. cel/piano/hpd/org (2 players). vln. db – soprano, 4 choir soloists (tenor, 4 basses) and mixed choir

Duration: 40’

Première: 1975, saint-baume (France), Festival de la musique contemporaine

Première in the ussr: 6 January 1984, Moscow, Tchaikovsky Concert hallensemble for Plastic Drama – Nelly li (soprano) – Moscow ensemble of Plastic Drama – alexander lazarev (conductor) – gerius Mackavicius (director)


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s t a g e w o r k s

sketches 1985Choreographic fantasia in one act by andrei Petrov after themes by Nikolai gogol based on 6 movements from g o g o l s u i t e (Nos. 2-4, 9, 10 and 14), 7 newly composed pieces (Nos. 5-8 and 11-13), and the march ‘The swan, the Crab and the Pike’ (No. 1 and 15) jointly composed by alfred schnittke, sofia gubaidulina, edison Denisov and gennadi rozhdestvensky

1. March ‘The swan, the Crab and the Pike’ 2. overture 3. Chichikov’s Childhood 4. The Portrait 5. Major kovalyov 6. The Nose (The Morning · The loss of the Nose · searching the Nose · Despair · The Nose is Found) 7. The overcoat 8. Ferdinand viii 9. The Civil servants 10. The unknown Woman (barrel-organ · The unknown Woman · Pas de deux · The Debauch · sabbath · barrel-organ) 11. spanish royal March 12. The ball 13. The Testament (ukrainian Folksong) 14. March ‘The swan, the Crab and the Pike’

d r a m at i s p e r s o n a e : Nikolai gogol – khlestyakov, civil servant – administra-tor – anna, his wife – Maria, their daughter – Chichikov, buyer of ‘dead souls’ – Nosdryov, landowner – an unknown woman – Piskaryov, painter – Major kovalyov – his nose – bashmachkin, owner of an overcoat – his overcoat – Civil servant who thinks he is Fernando viii, the spanish king – Dead souls – Civil servants – bandits

2(picc).2(cor anglais).2(eb cl,bass cl).2 (db bn) – 4.3.3.1 – 5 perc (timp, cast, ratchet, whistle, flex, temple bl, 3 tom-t, side dr, bass dr, cym, susp.cym, tam-t,tubular bells, glsp, xyl). el.guit. bass guit. (prepared) piano/hpd/cel. el.org. strings

Duration: 47’

Première: 16 January 1985, Moscow, bolshoi Theatregennadi rozhdestvensky (conductor) – andrei Petrov (choreographer)

© sikorski, hamburg, for the world

► for g o g o l s u i t e [1980] see: o r c h e s t r a l w o r k s

17

s t a g e w o r k s

peer gynt 1986ballet in three acts by John Neumeier based on henrik ibsen’s dramaDedicated to John Neumeier

d r a m at i s p e r s o n a e : Peer gynt – Åse, his mother – Different facets of Peer’s personality: soul, Childhood, Flying, eroticism, Daredevil, aggressiveness, Doubts – solveig – The other Women: ingrid, The green Woman, anitra – ingrid’s parents – solveig’s parents – Mad Moens, ingrid’s fiancé – Choreo-grapher – Producer – Pianist – showgirl – Film director – Make-up artist – Wardrobe assistant

Mountain Folk, Trolls, auditioning Dancers, Male and female slaves, opening Night Party guests, Film-crew, ‘everymen’ (Peer’s Doubles)

3(picc, alto fl).3(cor anglais).3(Eb cl,bass cl).2 (db bn) – 4.4.4.1 – 4-5 perc (timp, tgl, flex, bongo, tom-t, side dr, bass dr, cym, gong, tam-t, tubular bells, glsp, xyl, vibr, marimba). harp. cel/piano/hpd. org. strings (12/10/8/6/5) – mixed choir (tape)

Duration: full eve

Première: 22 January 1989, hamburg, hamburgische staatsoperhamburg Philharmonic state orchestra – ivan liska (Peer gynt) – gigi hyatt (sol-veig) – eri klas (conductor) – The ballet of hamburgische staatsoper – John Neu-meier (choreographer) – Jürgen rose (designer)

© sikorski, hamburg, for the world, except cis · piano reduction: sik 1952

► for e p i l o g u e f r o m ‘ P e e r g y n t ’ for orchestra [1987] see: o r c h e s t r a l

w o r k s · for e p i l o g u e f r o m ‘ P e e r g y n t ’ for violoncello, piano and performance CD [1993] see: c h a m b e r m u s i c

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s t a g e w o r k s

life with an idiot (lebeN MiT eiNeM iDioTeN) 1991opera in two acts (four scenes) by viktor Yerofeyev after his like-named short story (in russian)german version by Jörg Morgener (based on the translation of the short story by beate rausch) · english version by andrew reynolds und anthony legge

d r a m at i s p e r s o n a e : ‘i’ (baritone) – Woman (soprano) – vova (tenor) – keeper (bass) – Young lunatic (tenor) – Marcel Proust (baritone) – Friends, idiots, spies, homosexuals (choir)

1(picc, alto fl).1(cor anglais).1(Eb cl, bass cl).1(db bn) – 1.1.1.1 – timp. 4 perc (tgl, ratchet, flex, whip, wood bl, cow bells, tambourine, bongos, tom-t, mili-tary dr, side dr, bass dr, cym, tubular bells, glsp, xyl, vibr, marimba). cel/piano/hpd/org. strings (5/5/4/4/5)

Duration: full eve

Première: 13 april 1992, amsterdam,het rotterdams Philharmonisch orkest – Mstislav rostropovich (conductor) – boris Pokrovsky (director)

© sikorski, hamburg, for the world, except cis · libretto: sik 2383 (in german)

hommage à zhivago 1993Musical allegory on motives of boris Pasternak’s novel ‘Doctor Zhivago’, poems by boris Pasternak, alexander blok and osip Mandelstam, holy anthems and prayers (in russian) · idea and lyrics by Yuri lubimov · Jointly composed and compiled by alfred and andrei schnittke

d r a m at i s p e r s o n a e (main characters): Yuri Zhivago – lara antipova – strel-nikov – komarovsky – Tonya – amalia, lara’s mother

1 singer, choir, stage music (4 players), tape

Duration: 150’

Première: 18 May 1993, vienna, odeon hallensemble of the Taganka Theatre Moscow – Yuri lyubimov (director) – andrej von schlippe (stage designer)


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s t a g e w o r k s

gesualdo 1993opera in seven tableaux, a prologue and an epilogue by richard bletschacher (in german)

d r a m at i s p e r s o n a e : Don Carlo gesualdo (baritone) – Donna Maria gesu-aldo, Carlo’s wife (mezzo-soprano) – Don Fabrizio Caraffa, her lover (tenor) – Donna Maddalena Caraffa, Fabrizio’s wife (soprano) – Cardinal alfonso gesualdo (bass) – Don giulio gesualdo (baritone) – Donna sveva d’avalos, Maria’s mother (contralto) – Donna Maria Caracciolo (soprano) – Don garzia de Toledo, viceroy of Naples (tenor) – Count de ruo (baritone) – silvana al-bano, Maria’s maid (soprano) – The gardener’s wife (mezzo-soprano) – Pietro bardotti, Don Carlo’s servant (tenor) – ascanio and Francesco, two hunters (basses) – Don raffaello, young priest (mute character) – 5 madrigalists (alto, 2 counter-tenors, tenor, bass)

3(picc, alto fl).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.3.3.1 – 5 perc (timp, bongos, side dr, bass dr, cym, 2 tam-t, tubular bells, glsp, vibr, marimba). man-doline. guit. theorbe. harp. cel. piano/hpd. org. strings

Duration: full eve

Première: 26 May 1995, vienna, staatsoperorchestra of staatsoper Wien – Mstislav rostropovich (conductor) – Cesare lievi (director)

revised version of the opera by ernst Märzendorfer from 2000. The alterations main-ly comprise the smoothings of some extreme melodic lines in the protagonist’s part and the insertion of musical material from the opera in order to fill in gaps between the tableaux.

© sikorski, hamburg, for the world · libretto: sik 4/5601

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historia von d. johann fausten 1991/1994(The hisTorY oF D. JohaNN FausTus)opera in three acts, a prologue and an epilogue by Jörg Morgener and alfred schnittke based on the likenamed book published by Johann spies in 1587 (in german) · electronic music by andrei schnittkeadapted by gerd albrecht for the hamburg world premiere.

d r a m at i s p e r s o n a e : Doctor Johann Faustus (bass) – Mephostophiles, infernal spirit (counter-tenor) – Mephostophila, female infernal spirit (contralto) – old man, pious physician (tenor) – Three counts (baritones) – Duke of bavaria (bass) – Weinherr (bass) – Three students (baritones) – Narrator (tenor) – Mixed choir – ballet

3(2picc,alto flute).3(cor anglais).3(2Eb cl, bass cl, alto sax, bar sax).3(db bn) – 4.4.4.1 – 6 perc (timp, tgl, flex, wood bl, tambourine, 3 tom-t, military dr, side dr, bass dr, cym, gong, tam-t, tubular bells, 2 swanee whistles, glsp, xyl, vibr, marimba). el.guit. bass guit. cel. piano. hpd. org. 2 synthesizers. strings – historical instruments

Duration: full eve

Première: 22 June 1995, hamburg, hamburgische staatsoperPhilharmonisches staatsorchester hamburg – gerd albrecht (conductor) – John Dew (director)

© sikorski, hamburg, and universal edition, vienna · libretto: sik 4/5602

s t a g e w o r k s

various works of alfred schnittke have been used for ballet productions by choreo-graphers such as John Neumeier (e n d s t a t i o n s e h n s u c h t [a streetcar Named Desire], o t e l l o , M e d e a , F e n s t e r z u M o z a r t , s o u n d s o f e m p t y P a g e s), Birgit Scherzer (F r a u e n – M ä n n e r – P a a r e), Valery Panov and George R. Whyte (D r e y f u s – J ’ a c c u s e) and Frédéric Flamand (T i t a n i c , M o v i n g Ta r g e t).

For further information on these and other choreographies with music by alfred schnittke please contact the sikorski Promotion Department.

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o r c h e s t r a l w o r k s

suite 1954-1955for strings, later set for chamber orchestra

scherzo 1955

3(picc).3(cor anglais).3.3(db bn) – 4.3.3.1 – timp. perc (tgl, tom-t, side dr, bass dr, cym). strings

Duration: 12’

This may be an orchestral version of s c h e r z o for piano quintet, a lost composi-tion written between 1954 and 1955.


symphony 1957 (no. 0) 1956-1957

1. allegro ma non troppo 2. allegro vivace 3. andante 4. allegro

3(picc).2(cor anglais).3.2 – 4.3.3.1 – perc (timp, tgl, side dr, bass dr, cym, tam-t,xyl). harp, piano. strings

Duration: 40’

First performance: 1957, Moscow


overture 1957

3(picc).3(cor anglais).3(Eb clar).2 – 4.3.3.1 – perc (timp, tgl, wood bl, bass dr, cym, tam-t, xyl). piano, strings

Duration: ~10’

poem aBout the universe 1961Dedicated to Yuri Gagarin’s first space flight in 1961

4.4(cor anglais).3(bass clar).4(db bn) – 4.4.4.1 – perc (timp, tgl, wood bl, rat-chet, tamb, bass dr, cym, tam-t, xyl). 2 harps. cel. piano. org. theremin and electric instruments. strings

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suite for children 1962for small orchestra

1. Moderato 2. vivo 3. Moderato 4. andantino 5. allegro 6. andantino

2.2(cor anglais).2.2 – 2.1.0.0 – perc. (timp, wood bl, tom-t, side dr, cym, bells, glsp, xyl, vibr, marimba). harp. strings (10/8/6/4/4)

Duration: 10’

First performance: 1962, Moscowussr radio symphony orchestra – algis Ziuraitis (conductor)

music for chamBer orchestra 1964

1.0.bass clar.0 – 1.1.0.0 – perc (3 wood bl, 3 tom-t, side dr, 2 cym, 3 gongs, tam-t). hpd (amplified). piano. strings (1/1/1/1/1)

Duration: 12’

First performance: November 1965, leipzig

pianissimo 1968for orchestraCommissioned by Donaueschinger Musiktage

3(2picc).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.3.1 – 4 perc (timp, 5 cym, 2 gongs, tam-t, tubular bells, glsp, vibr). el.guit. harp. cel. 2 pianos. hpd. strings

Duration: 9’

First performance: 19 october 1969, Donaueschingen

südwestfunk-orchester baden-baden – ernest bour (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · score: ue 14897 / sik 6829

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symphony no. 1 1969-1972Dedicated to Gennadi Rozhdestvensky 1. senza tempo – Moderato – allegro – andante 2. allegretto 3. lento 4. lento

4(2 picc).4(cor anglais).4(Eb cl,bass cl).s sax.alto sax.ten sax.4(db bn) – 4.4.4.1 – perc (timp, flex, whip, 5 wood bl, 5 bongos, 5 tom-t, 3 side dr, bass dr, 4 cym, hi hat, 2 tam-t, tubular bells, glsp, xyl, vibr, marimba). el.guit. 2 harps. cel. piano. hpd. org. strings (12/12/8/8/8) – tape

Duration: 60’

First performance: 9 February 1974, gorkygorky Philharmonic orchestra – ensemble ‘Melodia’ – gennadi rozhdestvensky (conductor)


reQuiem 1975for three sopranos, contralto, tenor, mixed choir and instrumental ensemble from the stage music to Friedrich schiller’s drama ‘Don Carlos’ (in latin)

► see: v o c a l w o r k s

pantomime 1975suite for chamber orchestra after W.a. Mozart’s fragment kv 416d

► see: a r r a n g e m e n t s a n d t r a n s c r i p t i o n s

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in memoriam 1977-1978orchestral version of P i a n o Q u i n t e tComposed at Gennadi Rozhdestvensky’s suggestion 1. Moderato 2. Tempo di valse 3. andante 4. lento 5. Moderato pastorale

3(picc, alto fl).3(cor anglais).3(bass cl).3(db bn) – 4.4.4.1 – 6 perc (timp, 2 tam-t, tubular bells, glsp, vibr, marimba). el.guit. harp. cel. 2 pianos. hpd. org. strings (at least 7/6/5/4/3)

Duration: 25’

First performance: 20 December 1979, MoscowMoscow Philharmonic symphony orchestra – gennadi rozhdestvensky (conductor)

© Peters, Frankfurt · sikorski, hamburg (for ch, e, gr, il, is, nl, p, s, dk, n, tr) · study score: pe 5792

► for P i a n o Q u i n t e t see: c h a m b e r m u s i c

symphony no. 2 ‘st. Florian’ 1979for mixed chamber choir and large orchestra (in latin)Commissioned by BBC Symphony OrchestraDedicated to Alfred Schlee on the occasion of his 80th birthday 1. kyrie (Recitativo) 2. gloria (Maestoso) 3. Credo (Moderato) 4. Crucifixus (Pesante) –– et resurrexit (Agitato) 5. sanctus. benedictus (Andante) 6. agnus Dei (Andante)

4(2 picc, alto fl).4(ob d’amore, cor anglais).4(Eb cl,bass cl).4(db bn) – 4.4.4.1 – 6 perc (timp, bass dr, 3 susp.cym, 3 gongs, 3 tam-t, tubular bells, glsp, vibr, marimba). el.guit. bass guit. 2 harps. cel. piano. hpd. org. strings (12/12/8/8/8)

Duration: 55’

First performance: 23 april 1980, londonbbC symphony orchestra and Chorus – gennadi rozhdestvensky (conductor)


25


passacaglia 1979-1980for orchestra

4(2picc,alto fl).4(cor anglais).4(Eb cl,bass cl).4(db bn) – 6.4.4.1 – 5 perc (timp, 3 susp.cym, 3 gongs, 3 tam-t, tubular bells, glsp, vibr, marimba). 2 harps. pia-no. hpd. strings (16/14/12/10/8)

Duration: 20’

First performance: 8 November 1981, baden-badensüdwestfunk-orchester baden-baden – Jacques Mercier (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr)

gogol suite 1980suite from the music to Yuri lyubimov’s production of ‘The inspector’s Tale’ at the Taganka Theatre in Moscow – orchestrated and compiled by gennadi rozhdest-vensky

1. overture (Allegro [q = 132] attacca) 2. Chichikov’s Childhood (Andantino) 3. The Portrait (Valse lento – Meno mosso) 4. The overcoat (Andante accelerando – Meno mosso) 5. Ferdinand viii –– (attacca) 6. The officials (Allegro attacca) 7. The ball (Tempo di valse – Tempo di mazurka – Meno mosso – Allegro) 8. The Testament (Pesante)

1(picc).1(cor anglais).2(Eb cl, bass cl).1(db bn) – 2.1.2.1 – 5 perc (timp, flex, ratchet, temple bl, side dr, bass dr, cym, susp.cym, tam-t, tubular bells, swanee whistle, glsp, xyl). el.guit. bass guit. cel. (prepared) piano. hpd. org. strings

Duration: 37’

First performance: 5 December 1980, londonbbC symphony orchestra – gennadi rozhdestvensky (conductor and narrator)

© sikorski, hamburg, for the world, except cis · score: sik 1937

► for the extended ballet version, s k e t c h e s [1985] see: s ta g e w o r k s

■ a r r a n g e m e n t f o r t w o p i a n o s by valery borovikov in this version the fifth movement (‘Ferdinand viii’) is omitted.

26


symphony no. 3 1981Commissioned by Gewandhausorchester Leipzig 1. Moderato 2. allegro 3. allegro pesante 4. adagio

4(4picc).4(cor anglais).4(Eb cl, bass cl).4(db bn) – 6.4.4(db trbn).1 – 6 perc (timp, 3 tom-t, drums, bass dr, susp.cym, 2 tam-t, tubular bells, vibr, marimba). el.guit. bass guit. 2 harps. cel. piano. hpd. org. strings (16/16/12/12/10)

Duration: 60’

First performance: 5 November 1981, leipziggewandhausorchester leipzig – kurt Masur (conductor)

© Peters, Frankfurt · sikorski, hamburg (for ch, dk, n, e, s, nl, gr, tr, p, il, is) · studyscore: pe 10340

cantus perpetuus 1981for percussion, keyboard instruments and string orchestra (arrangement of C a n -t u s p e r p e t u u s for keyboard instrument, solo percussionist and four percus-sionists)

timp, bass dr, bells, tam-t, glsp, xyl, vibr – cel, hpd, piano, 2 harps – strings (16/14/12/10/8)

Duration: 10’-30’

First performance: 13 November 2011, saratovsaratov Philharmonic – alexander ivashkin (conductor)


► for the original chamber version [1975] see: c h a m b e r m u s i c

suite in the old style 1982arrangement for string orchestra by Jolán berta

► see: c h a m b e r w o r k s, s u i t e i n t h e o l d s t y l e, original version for violin and piano [1972]

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seid nüchtern und wachet . . . 1983Cantata for contralto, counter-tenor, tenor, bass, mixed choir and orchestraThird act of T h e h i s t o r y o f D . J o h a n n F a u s t u sCommissioned by Wiener Festwochentext: alfred schnittke on the basis of Johann spies’ ‘historia von D. Johann Fausten’ from 1587 (in german, russian version by viktor schnittke)

d r a m at i s p e r s o n a e : Doctor Faustus (bass) – Mephistophiles (counter-tenor) – Mephistophila (contralto) – Narrator (tenor or male choir/mixed choir) – Faustus’ friends, students (choir)

sostenuto – Poco allegretto – andante, poco pesante – Poco agitato – andante, poco pesante – agitato – Moderato – andante, poco pesante – sostenuto – an-dante dolce – Moderato – Moderato – sostenuto – andante (one movement)

3(picc).3.(cor anglais).3(Eb cl, bass cl, alto sax, bar sax).3(db bn) – 4.4.4.1 – 6 perc (timp, flex, wood bl, tambourine, tom-t, side dr, drums, bass dr, cym, tam-t, tubular bells, glsp, xyl, vibr, marimba). el.guit. bass guit. cel. piano. hpd. org. strings

Duration: 35’

First performance: 19 June 1983, viennaCarol Wyatt (Mephistophila) – Paul esswood (Mephistophiles) – helmut Wildhaber (Narrator) – günter reich (Faustus) – Martin haselböck (organ) – Wiener singaka-demie – Wiener symphoniker – gennadi rozhdestvensky (conductor)

© sikorski, hamburg (for D, Dk, is, ir, Tr, gr, N, s, Nl, P, e, Ch, gb, F) · universal edition, vienna

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symphony no. 4 1984for soprano, contralto, tenor, bass and chamber orchestraCommissioned by Le Chant du Monde Publishers

andante poco pesante – Moderato – Molto pesante – Moderato – vivo – Mo-derato – andante, poco pesante

Duration: 41’

■ v e r s i o n i for soprano, contralto, tenor, bass and chamber orchestra

1(alto fl).1.1.1 – 1.1.1.0 – 4 perc (gongs, tam-t, tubular bells, glsp, vibr). cel. piano. hpd. strings (1/1/1/1/1)

First performance: 16 March 1986, Moscowensemble of soloists of the bolshoi Theatre orchestra and state Chamber Choir – alexander lazarev (conductor)

■ v e r s i o n i i for contralto (or counter-tenor), tenor, mixed choir and orchestra

1(alto fl).1.1.1 – 1.1.1.0 – 4 perc (gongs, tam-t, tubular bells, glsp, vibr). cel. piano. hpd. strings (full set)

First performance: 12 april 1984, MoscowMoscow Philharmonic symphony orchestra, ussr state Chamber Choir – erik kurmangaliyev (counter-tenor) – alexei Martynov (tenor) – Dmitri kita-enko (conductor)

© le Chant du Monde, Paris · sikorski, hamburg (for d, ch, dk, n, s, nl, gr, tr, e, p, il, is) · study scores: cdm po 912 / sik 6782, sovetsky kompozitor

ritual 1984-1985for orchestraIn memory of the victims of the Second World War(on the occasion of the 40th anniversary of the liberation of Belgrade)

Moderato (one movement)

3(picc).3(cor anglais).4(bass cl).3(db bn) – 4.4.4.1 – perc (timp, tgl, crot, 4 side dr, bass dr, cym, tam-t, tubular bells, glsp, vibr). el.guit. bass guit. harp. cel. piano. hpd. org. strings

Duration: 8’

First performance: 15 March 1985, NovosibirskNovosibirsk Philharmonic symphony orchestra – valery Polyansky (conductor)


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(k )ein sommernachtstraum 1985for orchestra (not after shakespeare)Commissioned by Salzburger Festspiele


4(4 picc).4.4(bass cl).4 – 4.4.4.1 – 5 perc (timp, side dr, bass dr, cym, tam-t, tubular bells, glsp, vibr). harp. cel. piano. hpd. strings (16/12/10/7-8/7)

Duration: 9’

First performance: august 1985, salzburg, salzburg FestivalorF orchestra – leopold hager (conductor)


( k ) e i n s o m m e r n a c h t s t r a u m is based on musical material from g r a -t u l a t i o n s r o n d o for violin and piano [1974], for which ► see: c h a m b e r w o r k s

epilogue from ‘peer gynt’ 1987for mixed choir and orchestraText: vocalises (tape)

3(picc).3(cor anglais).3(Eb cl/bass cl).3(db bn) – 4.4.4.1 – 7 perc. (timp, flex, bongos, drums, bass dr, cym, gong, tam-t, tubular bells, xyl, vibr, marimba). harp. cel. hpd. piano (org). strings (12/10/8/6/5)

Duration: 30’

First performance: 27 april 1987, hamburgPhilharmonisches staatsorchester hamburg – gennadi rozhdestvensky (conductor)


► for the version for violoncello, piano and performance CD [1993] see: c h a m b e r

m u s i c · for the ballet P e e r g y n t [1986] see: s ta g e w o r k s

trio sonata 1987arrangement of s t r i n g Tr i o for string orchestra by Yuri bashmet

► see: c h a m b e r w o r k s, s t r i n g Tr i o [1985]

suite in the old style 1987arrangement for chamber orchestra by vladimir spivakov and vladimir Milman

► see: c h a m b e r w o r k s, s u i t e i n o l d s t y l e, original version for violin and piano [1972]


30

four aphorisms 1988for orchestra

1. lento 2. Moderato 3. allegretto 4. lento

1(picc).1(cor anglais).2(bass cl).1 – 2.1.1.0 – 3 perc (timp, cym, tam-t, tubular bells, glsp, vibr). cel. piano. hpd. strings

Duration: 8’

First performance: 18 september 1988, berlinensemble of soloists of The bolshoi Theatre Moscow – alexander lazarev (con-ductor)


concerto grosso no. 4 – symphony no. 5 1988Commissioned by Koninklijk Concertgebouworkest Amsterdam on the occasion of their cen-tenary 1. allegro 2. allegretto 3. lento – allegro 4. lento

3(picc).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.4.1 – 6 perc (timp, 3 tgl, crot, flex, whip, 3 bongos, 2 tom-t, side dr, bass dr, cym, 5 susp.cym, tam-t, tubular bells, glsp, xyl, vibr, marimba). harp. cel. piano. 2 hpd. strings (at least 12/12/12/10/9)

Duration: 39’

First performance: 10 November 1988, amsterdamkoninklijk Concertgebouworkest – riccardo Chailly (conductor)

© sikorski, hamburg, for the world, except cis · study scores: sik 8529


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sutartines 1991arrangement of lithuanian folk songsfor percussion, organ and strings

4 perc (timp, side dr [snare dr], bass dr, tam-t, tubular bells). strings (7/6/3/4/2)

Duration: 4’

First performance: 5 February 1991, vilniuslithuanian Chamber orchestra – saulius sondeckis (conductor)


festive chant (FesTliCher CaNTus) 1991for violin, piano, mixed choir and orchestra (in russian)Dedicated to Gennadi Rozhdestvensky on the occasion of his 60th birthday


3(picc).3(cor anglais).3(Eb cl).3 – 4.4.4.1 – 2 perc (timp, tgl, cym, tam-t, tubu-lar bells). harp. strings

Duration: 5’

First performance: 4 May 1991, Moscowalexander rozhdestvensky (violin) – viktoria Postnikova (piano) – ussr Ministry of Culture state symphony orchestra – gennadi rozhdestvensky (conductor)


agnus dei 1992for two sopranos, female choir and chamber orchestra (in latin)Commissioned by ‘Melos Art’, Torino, for the collaborative work ‘Mass for Peace’The Mass was jointly composed by rolf liebermann (introitus), Yoritsune Matsu-daira (kyrie), gian Carlo Menotti (gloria), sergio rendine (alleluia), a. krieger (Credo), lukas Foss (sanctus), krzysztof Penderecki (benedictus), alfred schnittke (agnus Dei) and Tomás Marco (laudamus te)

lento

2.2.2.0 – 2.0.0.0 – tam-t. hpd. strings

Duration: 4’

First performance: 11 December 1995, oslo, Nobel Peace Prize concertlinda Övrebö and Åshild siri refsdal (sopranos) – oslo Philharmonic Choir – oslo Philharmonic orchestra – vladimir ashkenazy (conductor)



32

symphony no. 6 1992Commissioned by and dedicated to The Washington National Symphony Orchestra and Mstislav Rostropovich 1. allegro 2. Presto 3. adagio 4. allegro vivace

3(2 picc).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.4.1 – 3 perc (timp, tgl, side dr, bass dr, susp.cym, tam-t, tubular bells). harp. piano. strings (12/12/10/8/6)

Duration: 35’

First performance: 25 september 1993, MoscowThe Washington National symphony orchestra – Mstislav rostropovich (conductor)

© sikorski, hamburg, for the world, except cis · study score: sik 1901

symphony no. 7 1993Commissioned by The New York PhilharmonicDedicated to Kurt Masur 1. andante 2. largo 3. allegro

3(picc, alto fl).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.3.3.1 – 3 perc (timp, 3 tgl, bongo, tom-t, side dr, 2 bass dr, 3 cym, gong, tam-t, tubular bells). harp. piano. hpd. solo vln. strings (12/12/10/8/6)

Duration: 24’

First performance: 10 February 1994, New Yorkglenn Dicterov (solo violin) – The New York Philharmonic – kurt Masur (conductor)

© sikorski, hamburg, for the world · study score: sik 1903


33

hommage a grieg 1993arrangement of a fragment from the ballet P e e r g y n t for orchestraCommissioned by Grieg Jubiléet 1993

adagio (one movement)

3(picc).3.3(Eb cl).2 – 4.3.3.0 – 2 perc (timp, side dr, cym, tam-t). harp. piano. solo violin. strings

Duration: 5’

First performance: 15 June 1993, bergenbergen Philharmonic orchestra – Dmitri kitaenko (conductor)


symphony no. 8 1994Dedicated to Gennadi Rozhdestvensky and the Royal Stockholm Philharmonic OrchestraCommissioned by the Stockholm Concert Hall Foundation 1. Moderato 2. allegro moderato 3. lento 4. allegro moderato 5. lento

3(picc).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.3.1 – 3 perc (timp, bass dr, 3 susp.cym, tam-t, tubular bells, glsp, vibr). 2 harps. cel/piano/hpd. strings (12/12/10/8/6)

Duration: 38’

First performance: 10 November 1994, stockholmroyal stockholm Philharmonic orchestra – gennadi rozhdestvensky (conductor)



34

symphonic prelude (siNFoNisChes vorsPiel) 1994for orchestraCommissioned by Philharmonisches Staatsorchester HamburgDedicated to Gerd Albrecht

andante (one movement)

4(2 picc).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.3.1 – 6 perc (timp, flex, 3 bongos, bass dr, cym, gong, tam-t, tubular bells, vibr). harp. piano. strings (12/12/10/8/6)

Duration: 20’

First performance: 6 November 1994, hamburgPhilharmonisches staatsorchester hamburg – gerd albrecht (conductor)


for liverpool 1994for orchestraCommissioned by The Royal Liverpool Philharmonic Society with funds provided by the Arts Council of England

3(picc).3.3(Eb cl, bass cl).3 – 4.3.3.1 – 3 perc (timp, tgl, bongos, side dr, bass dr, cym, tam-t, tubular bells). el.guit. bass guit. harp. piano. synthesizer. strings

Duration: 15’

First performance: 23 september 1995, liverpoolroyal liverpool Philharmonic orchestra – libor Pesek (conductor)



35

lux aeterna 1994for mixed choir and orchestra (in latin)orchestration by gennadi rozhdestvenskyCommissioned by the International Bach Academy Stuttgart as part of the collaborative work ‘Requiem of Reconciliation’ for Europäisches Musikfest StuttgartThe requiem was jointly composed by luciano berio (Prologue), Friedrich Cerha (introitus and kyrie), Paul-heinz Dittrich (Dies irae), Marek kopelent (Judex ergo), John harbison (Juste judex), arne Nordheim (Confutatis), bernard rands (interludi-um), Marc-andré Dalbavie (offertorium), Judith Weir (sanctus), krzysztof Pendere-cki (agnus Dei), Wolfgang rihm (Communio i), alfred schnittke (Communio ii), Joji Yuasa (responsorium) and györgy kurtág (epilogue)

andante

0.cor anglais.2.0 – 4.0.0.0 – glsp/marimba/tam-t. strings (8/8/8/8/3)

Duration: 7’

First performance: 16 august 1995, stuttgartgächinger kantorei stuttgart and the Cracow Chamber Choir – The israel Philhar-monic orchestra – helmuth rilling (conductor)



36

cantata 1994for counter-tenor and chamber orchestraText: sebastian brant (No. 2), Pieter brueghel (No. 4) and Jakob böhme (No. 5) (in german)Commissioned by London Sinfoniettaunfinished 1. lento 2. und vor uns die schändliche eitelkeit ... 3. –– 4. ihr leute von Mallegem ... 5. Wem Zeit wie ewigkeit ...

2(alto fl).2(cor anglais).4(Eb clar, bass cl).2 – 2.0.0.0 – perc (bongos, cym, tam-t,vibr, marimba). hpd. cel. strings

First performance (movements 1-3): 13 January 2001, londonThe london sinfonietta – Martyn brabbins (conductor)


The composer completed Nos. 1, 2 and a considerable portion of No. 3 in full score – Nos. 4 and 5 only sketches.

► for details concerning gidon kremer’s s u i t e o f F r a g m e n t s, for whichthe first movement of C a n t a t a was used, see: c h a m b e r m u s i c , P i a n o Q u a r t e t [1988]

suite of fragmentsCompilation by gidon kremer of four of alfred schnittke’s works [2002]

► see: c h a m b e r w o r k s , P i a n o Q u a r t e t [1988]


37

symphony no. 9 1997reconstruction by alexander raskatov [2006]Recontruction co-commissioned by Dresdner Philharmonie, Bruckner Orchester Linz and The Juilliard School, New York 1. [andante] 2. Moderato 3. Presto

3(picc).3(cor anglais).3(bass clar).3 – 4.2.3.1 – 3 perc (timp, tgl, bongo, 2 tom-t,bass dr, cym, gong, tam-t, glsp, vibr). hpd (amplified), strings

Duration: 36’

First performance: 16 June 2007, DresdenDresdner Philharmonie – Dennis russell Davies (conductor)

There is also a version by gennadi rozhdestvensky, who arranged the composedmaterial in order to achieve a perfomable version, which was never officially accepted by the composer. its only performance took place on 19 June 1998 in Moscow.

© sikorski, hamburg, for the world, except c i s · study score: sik 8596


38

w o r k s f o r s o l o i n s t r u m e n t (s) & o r c h e s t r a

concerto for accordion and orchestra 1949

sketches only

poem 1953for piano and orchestra

lost

concerto no. 1 for violin and orchestra 1957/1962

1. allegro ma non troppo 2. Presto 3. andante – sempre ritenuto molto 4. allegro scherzando

3(picc, alto fl).2.3(Eb cl, bass cl).2 – 4.2.0.0 – 6 perc (timp, tgl, whip, wood bl, tom-t, side dr, cym, tam-t, glsp, xyl, vibr). harp. cel. piano. strings

Duration: 40’

First performance: 26 November 1963, MoscowMark lubotsky (violin) – ussr radio and Tv symphony orchestra – gennadi rozh-destvensky (conductor)

schnittke initially allowed an alternative version of the C o n c e r t o without the second movement.

© sikorski, hamburg, for the world, except cis · piano reduction by the composer and study score: sovetsky kompozitor

concerto for piano and orchestra 1960

1. allegro 2. andante (attacca) 3. allegro

3(picc).2.3(Eb cl,bass cl). 2 – 4.3.3.1 – 4 perc (timp, tgl, whip, wood bl, side dr, bass dr, cym, tam-t, xyl). strings

Duration: 25’

First performance: 1960, Moscowleonid brumberg (piano) – ussr state symphony orchestra – vladimir bakharev (conductor)


39


music for piano and chamBer orchestra 1964

1. variazioni 2. Cantus firmus 3. Cadenza (attacca) 4. basso ostinato

1.1.bass cl.0 – 1.1.0.0 – 1 perc (timp, wood bl, 2 tom-t, side dr, cym, tam-t, tubular bells, xyl, vibr). strings (1/1/1/1/1)

Duration: 25’

First performance: september 1965, Warsaw, Warsaw autumn Festivalalexandra utrecht (piano) – Poznan symphony orchestra – vitold kremenski (con-ductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr)

concerto no. 2 for violin and chamBer orchestra 1966Dedicated to Mark Lubotsky

1.1.1.1 –1.1.1.0 – 3 perc (i: timp – ii: whip, 2 wood bl, 3 bongos, 2 tom-t, side dr, bass dr, cym, tam-t – iii: tubular bells, xyl). piano. strings (4/3/2/2/1)

Duration: 20’

First performance: 12 July 1966, JyväskyläMark lubotsky (violin) – Finnish radio symphony orchestra – Friedrich Cerha (conductor)


sonata for violin and chamBer orchestra 1968Chamber orchestra version of s o n a t a N o . 1 f o r v i o l i n a n d P i a n o

1. andante 2. allegretto 3. largo 4. allegretto (scherzando) – allegro – largo (– allegretto)

hpd. strings (4/4/3/3/1)

Duration: 20’

First performance: 5 February 1986, Moscowoleg kagan (violin) – lithuanian Chamber orchestra – saulius sondeckis (conductor)


► for the original version, s o n a t a N o . 1 f o r v i o l i n a n d P i a n o [1963] see: c h a m b e r m u s i c

40


douBle concerto for oBoe, harp and strings 1971Dedicated to Heinz Holliger, Ursula Holliger and the Zagreb Soloists

lento (one movement)

strings (at least 3/3/3/2/1)

Duration: 20’

First performance: May 1972, Zagreb, Zagreb biennaleheinz holliger (oboe) – ursula holliger (harp) – Zagreb soloists

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · scores: ue 15125 / sik 6623

concerto grosso no. 1 1977for two violins, harpsichord, prepared piano and stringsComposed at the request of Gidon Kremer and Tatiana GrindenkoDedicated to Gidon Kremer, Tatiana Grindenko and Saulius Sondeckis 1. Preludio (Andante) 2. Toccata (Allegro) 3. recitativo (Lento – Poco più mosso – Lento – Poco più mosso) 4. Cadenza 5. rondo (Agitato – Meno mosso – Tempo I) 6. Postludio (Andante – Allegro – Andante)

strings (6/6/4/4/1)

Duration: 25’

First performance: 21 March 1977, leningradgidon kremer and Tatiana grindenko (violins) – Yuri smirnov (keyboard instru-ments) – leningrad Chamber orchestra – eri klas (conductor)

■ a lt e r n at i v e v e r s i o n by the composer for flute, oboe, harpsichord, prepared piano and strings [1988] Commissioned by Vyacheslav Lupachov ■ a r r a n g e m e n t for two flutes, harpsichord, prepared piano and strings by an- drás adorján [1989]

First performance: 19 January 1989, Munichandrás adorján, Marianne henkel (flutes) – Münchener kammerorchester – hans stadlmair (conductor)

This version was authorized by the composer.

© sikorski, hamburg, for the world, except cis · study scores: ue ph 488 / sik 6625, sovetsky kompozitor

41


moz-art à la haydn 1977Play on music for two violins, two small string orchestras, double bass and conduc-tor (after W. a. Mozart’s fragment k. 416d)

► see: e n s e m b l e m u s i c

concerto no. 3 for violin and chamBer orchestra 1978Dedicated to Oleg Kagan 1. Moderato 2. agitato 3. Moderato

2(picc).2(cor anglais).3(Eb cl, bass cl).2(db bn) – 2.1.1.0 – strings (1/0/1/1/1)

Duration: 28’

First performance: 27 January 1979, Moscowoleg kagan (violin) – Chamber ensemble of Moscow Conservatoire students – Yuri Nikolayevsky (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · study score: ue ph 496 / sik 6711 · piano reduction: ue 32623 / sik 6919

concerto for piano and string orchestra 1979Dedicated to Vladimir Krainev

Moderato – andante – Maestoso – allegro – Tempo di valse – Moderato – Ma-estoso – Moderato – Tempo primo (one movement)

strings (12/12/8/8/4)

Duration: 23’

First performance: 10 December 1979, leningradvladimir krainev (piano) – leningrad Philharmonic symphony orchestra – alexan-der Dmitriyev (conductor)

© sikorski, hamburg, for the world, except cis · study scores: sik 1879 · sovetsky kompo-zitor · piano reduction: sik 8600

42


concerto grosso no. 2 1981-1982for violin, violoncello and orchestraCommissioned by Berliner Philharmoniker 1. andantino 2. Pesante 3. allegro 4. andantino

3(alto fl).3(cor anglais).3(bass cl).3(db bn) – 4.4.4.1 – 4 perc (timp, 2 tom-t, side dr, drums, bass dr, cym, hi hat, tubular bells, glsp, vibr, marimba). el.guit. bass guit. cel. piano. hpd. strings

Duration: 36’

First performance: 11 september 1982, berlinoleg kagan (violin) – Natalia gutman (violoncello) – berliner Philharmoniker – giuseppe sinopoli (conductor)


concerto no. 4 for violin and orchestra 1984Commissioned by Berliner FestwochenDedicated to Gidon Kremer 1. andante 2. vivo 3. adagio 4. lento

3(alto fl).3(cor anglais).3(bass cl).alto sax.3(db bn) – 4.4.4.1 – 6 perc (timp, flex, 4 bongos, tam-t, tubular bells, glsp, xyl, vibr, marimba). harp. prepared piano. hpd. strings (14/12/10/8/6)

Duration: 35’

First performance: 11 september 1984, berlingidon kremer (violin) – berliner Philharmoniker – Christoph von Dohnányi (con-ductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · study scores: ue ph 525 / sik 6780 · sovetsky kompozitor

43


concerto grosso no. 3 1985for two violins and chamber orchestraCommissioned by Rundfunk der DDR 1. allegro 2. risoluto 3. Pesante 4. adagio 5. Moderato

4 church bells. cel/piano/hpd. strings (4/4/3/2/1)

Duration: 24’

First performance: 20 april 1985, Moscowoleh krysa and Tatiana grindenko (violins) – lithuanian Chamber orchestra – sau-lius sondeckis (conductor)

First performance of the final version: 9 December 1985, east berlinDresdner kammerorchester – Manfred scherzer (conductor)

© edition Peters, Frankfurt · sikorski, hamburg (for ch, e, gr, il, is, nl, p, s, dk, n, tr) · study score: sik 1816

concerto for viola and orchestra 1985Dedicated to Yuri Bashmet 1. largo 2. allegro molto 3. largo

3(picc, alto fl).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.4.1 – 7 perc (timp, flex, snare dr, 2 bass dr, 2 susp.cym, 2 tam-t, tubular bells, xyl, vibr). harp. cel. piano. hpd. strings (0/0/8/8/8)

Duration: 35’

First performance: 9 January 1986, amsterdamYuri bashmet (viola) – koninklijk Concertgebouworkest – lukas vis (conductor)

© sikorski, hamburg, for the world, except cis · study score: sik 1875 · piano reduction: sik 1938

44


concerto no. 1 for violoncello and orchestra 1985-1986Commissioned by Münchner PhilharmonikerDedicated to Natalia Gutman 1. Pesante – Moderato 2. largo 3. allegro vivace 4. largo

3(3picc).3(cor anglais).3(bass cl).3(db bn) – 4.4.4.1 – 6 perc (timp, tgl, flex, 2 bongos, side dr, bass dr, 3 cym, tam-t, tubular bells, vibr, marimba). harp. cel/hpd. piano. strings (12/12/11/10/8)

Duration: 40’

First performance: 7 May 1986, MunichNatalia gutman (violoncello) – Münchner Philharmoniker – eri klas (conductor)

© sikorski, hamburg, for the world, except cis · score: sik 1822 · piano reduction:sik 1995

Quasi una sonata 1987for violin and chamber orchestraarrangement of s o n a t a N o . 2 f o r v i o l i n a n d P i a n oWritten at the request of Gidon Kremer

2(picc).2.2.2 – 2.0.0.0 – cel. piano. strings (5/4/3/3/1)

Duration: 20’

First performance: 10 June 1987, Milangidon kremer (violin) – orpheus Chamber orchestra


► for the original version, s o n a t a N o . 2 f o r v i o l i n a n d P i a n o [1968] see: c h a m b e r m u s i c

concerto grosso no. 4 – symphony no. 5 1988

► see: o r c h e s t r a l w o r k s

45


concerto for piano four-handsand chamBer orchestra 1988Dedicated to Viktoria Postnikova and Irina Schnittke

(one movement)

1(picc).1.1(Eb cl, bass cl).1(db bn) – 1.1.1.db tuba – 4 perc (timp, 3 bongos, 3 tom-t, snare dr, susp.cym, cym, tam-t, tubular bells, vibr). strings

Duration: 23’

First performance: 18 april 1990, Moscowviktoria Postnikova, irina schnittke (piano) – ussr Ministry of Culture state sym-phony orchestra – gennadi rozhdestvensky (conductor)


monologue 1989for viola and stringsDedicated to Yuri Bashmet

largo (one movement)

strings (6/6/5/4/4)

Duration: 18’

First performance: 4 June 1989, bonnMoscow soloists ensemble – Yuri bashmet (viola/conductor)


46


concerto no. 2 for violoncello and orchestra 1990Commissioned by and dedicated to Mstislav Rostropovich 1. Moderato 2. allegro 3. lento 4. allegretto vivo 5. grave

3(3picc, alto fl).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.4.1 – 7 perc (timp, crot, bass dr, susp.cym, 3 gongs, 2 tam-t, tubular bells, glsp, vibr, marimba). harp. cel. piano. hpd. strings (14/12/10/8/6)

Duration: 32’

First performance: 27 May 1990, evianMstislav rostropovich (violoncello) – symphony orchestra of the Curtis institute of Philadelphia – Theodor guschlbauer (conductor)


concerto grosso no. 5 1991for violin and orchestraCommissioned by the Carnegie Hall Corporation for the Cleveland Orchestra on the occasion of the Carnegie Hall Centenary 1. allegretto 2. –– 3. allegro vivace 4. lento

3(picc, alto fl).3(cor anglais).3(Eb cl, bass cl).3(db bn) – 4.4.4.1 – 7 perc (timp, tgl, flex, 2 tom-t, bass dr, cym, susp.cym, tam-t, tubular bells, vibr, marimba). harp. cel/hpd. piano (amplified). strings (14/12/10/8/6)

Duration: 22’

First performance: 2 May 1991, New Yorkgidon kremer (violin) – alexander slobodyanik (piano) – The Cleveland orchestra – Christoph von Dohnányi (conductor)


47

concerto grosso no. 6 1993for piano, violin and stringsDedicated to Viktoria Postnikova, Alexander Rozhdestvensky and Gennadi Rozhdestvensky 1. andante – allegro 2. adagio 3. allegro vivace

Duration: 15’

First performance: 11 January 1994, Moscowviktoria Postnikova (piano) – alexander rozhdestvensky (violin) – Moscow state Philharmonic orchestra – gennadi rozhdestvensky (conductor)


concerto for three (koNZerT Zu DriTT)* 1994for violin, viola, violoncello and string orchestra (with piano)Dedicated to Gidon Kremer, Yuri Bashmet and Mstislav Rostropovich 1. Moderato 2. larghetto 3. largo 4. allegro

strings (3/3/3/3/1)

Duration: 16’

First performance: 19 october 1994, Moscow, great hall of the Conservatoiregidon kremer (violin) – Yuri bashmet (viola) – Mstislav rostropovich (violoncello) – russian National symphony – Mikhail Pletniev (conductor)


* Russian: Kontsert na troikh. ‘Na troikh’ may also be construed as three people fi-nishing off the contents of a bottle.

concerto for viola and orchestra (no. 2) 1998

Manuscript score found after Schnittke’s death, requires reconstruction


48

the passing line of clouds grows thinner 1953[redeet oblakov letuchaya gryada]for voice and pianoText: alexander Pushkin (in russian)

three choruses 1954-1955for mixed choirText: alexander Prokofiev, Mikhail isakovsky and alexander Mashistov (in russian)

three songs 1954-1955for voice and pianoText: Fyodor Tyutchev (No. 1), Mikhail lermontov (No. 2), and stepan shchiparev (in russian)

1. Dusk [sumrak] 2. beggar [Nishchy] 3. birch Tree [beryoza]

Duration: 6’

First performance: 21 November 2009, londonMargarita elia (soprano) – andri hadjiandreon (piano)

vocalise 1958for mixed choir a cappella

Duration: 4’


v o c a l w o r k s

49

nagasaki 1958oratorio for mezzo-soprano, mixed choir and orchestraText: anatoli sofronov, georgi Fere, Yoneda eisaku, shimazaki Toson (in russian)

1. Nagasaki, City of grief (Andante sostenuto, poco pesante) 2. The Morning (Allegretto) 3. on That Fateful Day ... (L’istesso tempo) 4. on the ashes (Andante) 5. The sun of Peace (Andante sostenuto)

4(2 picc).4(cor anglais).4(Eb cl,bass cl).4(db bn) – 8.4.4.2 – perc (5-6 timp, tgl, wood bl, side dr, bass dr, cym, tam-t, tubular bells, glsp, xyl, vibr, theremin). 2 harps. cel. piano. strings

Duration: 40’

First recording: 1959, MoscowNina Postavnicheva, mezzo-soprano – ussr radio and Tv symphony orchestra –algis Ziuraitis, conductor

First performance: 23 November 2006, Cape Townhanneli rupert (mezzo-soprano) – Cape Town opera voice of the Nation – Cape Philharmonic orchestra – owain arwel hughes (conductor)


songs of war and peace 1959Cantata for soprano, mixed choir and orchestraText: anatoly leontev and andrei Pokrovsky, based on modern russian folk songs (in russian)

1. golden grass on ancient burial Mounds 2. War is rumbling in the Fields 3. My heart Moans 4. The storm has Passed. The sky is Clear

3.3.3.3 – 4.4.3.1 – harp. cel. piano. strings

Duration: 25’

First performance: 20 December 1960, Moscow, great hall of the Conservatoireussr state symphony orchestra – Dzhemal Dalgat (conductor)

piano reduction by the composer: muzyka

v o c a l w o r k s

50

three poems of marina tsvetaeva 1965for soprano or mezzo-soprano and piano (in russian and german)

1. simple is my Demeanour [Prasta maya asanka, ...] 2. black, like a Pupil [Chornaja, kak zrachok, ...] 3. i have Pierced the veins [Fskryla veny ...]

Duration: 8’

First performance: January 1966, Moscowsvetlana erofeeva (mezzo-soprano)

© sikorski, hamburg, for the world, except cis · scores: sik 1946 (soprano version),sik 828 (mezzo-soprano version)

verses written in the sleeplessness of the night 1971for (low) voice and pianoText: alexander Pushkin (in russian)

Duration: 3’


originally composed for a Tv production.

voices of nature 1972for ten female voices and vibraphoneText: vocalises


Duration: 8’

First performance: 1975, MoscowMoscow Conservatoire students’ Choir – boris Tevlin (conductor)

© sikorski, hamburg, for the world, except cis · scores: sik 8722, vaga, amp (g. schirmer)

v o c a l w o r k s

51

reQuiem 1975for three sopranos, contralto, tenor, mixed choir and instrumental ensemble – from the incidental music to Friedrich schiller’s drama ‘Don Carlos’ (in latin)

1. requiem 2. kyrie 3. Dies irae 4. Tuba mirum 5. rex tremendae majestatis 6. recordare 7. lacrimosa 8. Domine Jesu 9. hostias 10. sanctus 11. benedictus 12. agnus Dei 13. Credo 14. requiem

0.0.0.0 – 0.1.1.0 – 6 perc (timp, flex, side dr, drums, bass dr, tam-t, tubular bells, glsp, vibr, marimba). el guit. bass guit. cel. piano. org

Duration: 35’

First performance: autumn 1977, budapest, Music Weekskodály Choir

© Peters, Frankfurt · sikorski, hamburg (for ch, e, gr, il, is, nl, p, s, dk, n, tr) · scores:pe 5790a, sik 2257p · choral parts: pe 5790B, sik 2257 · keyboard parts: sik 2257

v o c a l w o r k s

52

eight songs 1975for (medium) voice and piano or guitar – from the incidental music to Friedrich schiller’s drama ‘Don Carlos’ (in russian)

1. Prelude 2. hope 3. a Path in the Mountains 4. evil Monks 5. love song 6. about Theatre 7. To my Friends 8. song of the Marauders

Duration: 20’

First (concert) performance: 22 september 1990, bad urach (‘schiller in russia’)e. Ponyakanin (baritone) – liuba orfenova (piano)

No. 4 (‘evil Monks’) requires a mixed choir and additional instruments: marimba, vibraphone, bells, timpani, tam-tam, electric guitar and bass guitar.


der sonnengesang des franz von assisi 1976(The CaNTiCle oF The suN bY sT. FraNCis oF assisi)for two mixed choirs and six instrumentsText: st. Francis of assisi (in german)

Tempo rubato, ma sostenuto (one movement)

timp. tam-t. vibr. tubular bells. cel. org

Duration: 8’

First performance: 10 June 1988, london, almeida FestivalNew london Chamber Choir and ensemble – James Wood (conductor)


magdalena’s song 1977for soprano and pianoText: boris Pasternak from ‘Dr. Zhivago’ (in russian)First performance: 2009, Moscow

Duration: 6’


v o c a l w o r k s

53

symphony no. 2 ‘st. Florian’ 1979for mixed chamber choir and large orchestra


three madrigals 1980for soprano, violin, viola, double bass, vibraphone and harpsichordText: Francisco Tanzer (in French, german and english)Dedicated to Sofia Gubaidulina on the occasion of her 50th birthday and to Francisco Tan-zer on the occasion of his 60th birthday. 1. sur une étoile 2. entfernung 3. reflection

Duration: 8’

First performance: 10 November 1980, MoscowNelly li (soprano) – ludmila ignatyeva (violin) – igor boguslavsky (viola) – Nikolai gorbunov (double bass) – victor grishin (vibraphone) – vera Chasovennaya (harp-sichord) – gennadi rozhdestvensky (conductor)

There is also a version for soprano and piano by the composer (1982).

© sikorski, hamburg, for the world, except cis · study score and parts: sik 844

three scenes 1980for soprano and percussion ensembleText: vocalisesDedicated to Mark Pekarsky and his ensemble 1. Poco pesante 2. Moderato 3. andante

vibr (6 players). cym/bass dr*. glsp

Duration: 17’

First performance: 1981, Moscowlidia Davydova (soprano) – Mark Pekarsky Percussion ensemble – Mark Pekarsky (conductor)

* in the second movement cymbals and bass drum may be replaced by a violin (upper notes) and a double bass (lower notes), both playing invisibly behind the stage.


v o c a l w o r k s

54

minnesang 1980-1981for 52 voicesText: 12th and 13th century Minnesingers (Mönch von salzburg, Friedrich von sonnenburg, Meister alexander, heinrich von Meissen, Neidhart von reuenthal, Walther von der vogelweide and Wolfram von eschenbach) (in medieval german)

(one movement)

18 sopranos, 12 altos, 10 tenors, 12 basses

Duration: 15’

First performance: 21 october 1981, graz, Festival ‘steirischer herbst’, Musikpro-tokollPro arte Choir – karl ernst hoffmann (conductor)


seid nüchtern und wachet . . . 1983Cantata for contralto, counter-tenor, tenor, bass, mixed choir and orchestra


three sacred hymns 1984for mixed choir (in russian)

1. hail Mary, Full of grace [bogoroditse devo, raduysya, blagodatnaya Maria] 2. lord Jesus [gospodi, gospodi iisuse] 3. our Father [otche nash]

Duration: 5’

First performance: 30 october 1994, stockholmrussian state symphony Capella – valery Polyansky (conductor)

© sikorski, hamburg, for the world · score: sik 852

symphony no. 4 1984for soprano, contralto, tenor, bass and chamber orchestra


v o c a l w o r k s

55

concerto for choir 1984-1985Text: grigor of Narek, ‘book of Mournful songs’ (russian translation by Naum grebnev)Dedicated to and commissioned by Valery Polyansky and the USSR State Chamber Choir 1. o Master of all living, bestowing Priceless gifts upon us (Andante [rubato]) [o povelitel’ sushchego vsego, bestsennymi darami nas daryashchij]

2. i, an expert in human Passions, Composed This Collection of songs, Where every verse is Full to the brim with black sorrow (Andante) [sobran’ye pesen sikh, gde kazhdyj stikh napolnen skorb’yu chernoyu do kraya, slozhil ya – vedatl’ strastej lyudskikh]

3. To all Who grasp the Meaning of These Mournful Words (Andante mosso) [vsem tem, kto vniknet v sushchost’ skorbnykh slov]

4. Complete This Work Which i began in hope and with Your Name (Lento molto) [sey trud, shto nachinal ya s upovan’yem i s imenem Tvoim, Ty tavershi]

Duration: 47’

First performance (third movement only): 14 July 1984, istanbulussr state Chamber Choir – valery Polyansky (conductor)

First (complete) performance: 11 June 1986, Moscowussr state Chamber Choir – valery Polyansky (conductor)

The second movement can be performed separately.


■ a r r a n g e m e n t o f s e c o n d m o v e m e n t f o r s t r i n g q u a rt e t by David har-rington [1997] C o l l e c t e d s o n g s W h e r e e v e r y ve r s e i s F i l l e d w i t h g r i e f

First performance: 17 May 1997, Moscow kronos string Quartet

■ a r r a n g e m e n t o f s e c o n d m o v e m e n t f o r v i o l i n s o l o by Nathaniel stoo- key [2009] . . . W h e r e e v e r y ve r s e i s F i l l e d w i t h g r i e f

First performance: 12 June 2009, san Francisco, Yerba buena Center of the arts Paul Festa

v o c a l w o r k s

56

epilogue from ‘peer gynt’ 1987for mixed choir and orchestra


drei gedichte von viktor schnittke 1988(Three PoeMs oF vikTor sChNiTTke) for tenor and piano (in german)

1. Wer gedichte macht ... 2. Der geiger 3. Dein schweigen

Duration: 10’

First performance: 4 May 2009, hamburgsvyatoslav Martynchuk (tenor) – Marina savova (piano)


v o c a l w o r k s

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twelve penitential psalms (ZWÖlF bussverse) 1988for mixed choirText: ‘Monuments of literature from ancient russia, second half of the 16th century’,khudozhestvennaya literatura, Moscow 1986 (in russian)

1. adam sat before Paradise, Weeping: [Plakasya adamo pred’ raemo sedya:]

2. The Desert receives Me the Way a Mother receives her Child. [Priimi mya, pustymi, Yako mati chado svoe]

3. That is Why i live in Poverty [sego radi nishch est’, cela ne imeyu]

4. My soul [Dushe moya]

5. oh Man – Doomed and Wretched [okayanne ubogyi cheloveche]

6. When They saw the ship That suddenly arrived [Zrya korable napracno pristabaema]

7. oh My soul, Why are You not afraid? [Dyshe moya, kako ne ustrashaeshisya]

8. if You Want to overcome the Timelessness and sorrow [ashche khoshcheshi pobediti bezvremyannuyu pechal’]

9. i have Thought over My life as a Clergyman’s life [vospomyanukh zhitie svoe kliroskoe az nepotrebnyi]

10. Flock Together, You Christian People [Pridete, khristonosenii lyudie]

11. i have Come into This Miserable life [Nago izydokho, na plach’ sei, mladenets cyn]

12. [without text]

Duration: 37’

First performance: 26 December 1988, Moscowussr state Chamber Choir – valery Polyansky (conductor)

© belaieff, Mainz · score: belaieff 555

opening verse for the first festival sunday 1989(erÖFFNuNgsvers ZuM ersTeN FesTsPielsoNNTag)for mixed choir and organ (from Psalm 47, in german)

all People, Clap Your hands ...[ihr völker alle, klatscht in die hände ...]

Duration: 2’

First performance: 2 July 1989, lockenhaus/austriakonzertchor Darmstadt – Wolfgang seeliger (conductor)


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festive chant (FesTliCher CaNTus) 1991for mixed choir and orchestra


agnus dei 1992for two sopranos, female choir and chamber orchestra


mutter (MoTher) 1993for mezzo-soprano and pianoText: else lasker-schüler (in german)Dedicated to Ulrich Eckhardt on the occasion of his 60th birthday lento (one movement)

Duration: 2’

First performance: 28 May 1994, berlingundula hintz (mezzo-soprano) – Maija Nabering (piano)


v o c a l w o r k s

59

five fragmentsBased on paintings By hieronymus Bosch 1994for tenor, violin, trombone, harpsichord, timpani and stringsText: aeschylus (german translation by J. g. Droysen), Nicolaus reusner (in ger-man)Dedicated to Vladimir Spivakov 1. lento 2. Moderato 3. andantino 4. agitato 5. senza tempo

Duration: 21’

First performance: 11 November 1994, london, barbican hallPaul Charles Clarke (tenor) – Tasmin little (violin) – Christian lindberg (trombone) – John Constable (harpsichord) – John Chimes (timpani) – The london sinfonietta – Markus stenz (conductor)


► for details concerning gidon kremer’s s u i t e o f F r a g m e n t s , for whichthe second movement of F i v e F r a g m e n t s was used, see: c h a m b e r m u s i c , P i a n o Q u a r t e t [1988]

lux aeterna 1994for two sopranos, female choir and chamber orchestra


cantata 1994for counter-tenor and chamber orchestra


v o c a l w o r k s

60

concerto for electric instruments 1960

1. allegro moderato 2. allegretto 3. andante

Duration: 15’

First performance: 21 November 2009, londonlydia kavina (theremin) – Drosostalitsa Moraiti (shumophone) – andri hadjiand-reou (crystadin) – rebecca Wiles (camerton piano) – emma Firth, hannah Cott, Magdalini Nikolaidou, Magdalena kryzanowska (ekvodins) – Mariano Nunez West (sound ingeneer and producer) – alexander ivashkin (conductor)

dialogue 1965-1967for violoncello and seven instrumentalists

fl. ob. cl. horn. tpt. piano. 1 perc (timp, claves, wood bl, 4 bongos, 3 tom-t, cym, tubular bells, xyl, vibr, marimba)

Duration: 18’

First performance: september 1967, Warsaw, Warsaw autumn Festivalalexander Cechanski (violoncello) – instrumental ensemble of the Warsaw Philhar-monic society – Tadeusz Dobrinski (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · scores: ue 14801 / sik 6615, muzyka (in the collection: Pieces for Chamber ensemble [Piesy dlia kamernogo ansamblia]) · solo part (trombone version): ue 19533a /sik 6861

■ a r r a n g e m e n t f o r t r o m b o n e a n d s e v e n i n s t r u m e n ta l i s t s by Christianlindberg [1988]

First performance: 6 october 1989, stockholm

■ a r r a n g e m e n t f o r b a s s c l a r i n e t a n d s e v e n i n s t r u m e n ta l i s t s by volkerhemken [2000]

First performance: 27 February 2000, leipzig

e n s e m B l e m u s i c

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serenade 1968for violin, clarinet, double bass, piano and percussion

perc (2 tom-t, side dr, bass dr, 2 cym, tubular bells)

1. — 2. lento 3. allegretto

Duration: 12’

First performance: spring 1969, Moscowalexander Melnikov (violin) – lev Mikhailov (clarinet) – rustem gabdullin (double bass) – boris berman (piano) – Mark Pekarsky (percussion) – gennadi rozhdest-vensky (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · scores: ue 15120 / sik 6616, sovetsky kompozitor (in the collection: Pieces for Chamber ensembles [Piesy dlia kamernykh ansamblei] No. 1)

reQuiem 1975for soloists, mixed choir and instrumental ensemble from the incidental music to Friedrich schiller’s drama ‘Don Carlos’


cantus perpetuus 1975for keyboard instrument (piano, harpsichord, organ or celesta), solo percussionist and four percussionists

► see: c h a m b e r w o r k s

der sonnengesang des franz von assisi 1976(The CaNTiCle oF The suN bY sT. FraNCis oF assisi )for two mixed choirs and six instruments


hymn iv 1977for violoncello, double bass, bassoon, harpsichord, harp, timpani and bells

► see: c h a m b e r m u s i c , h y m n s i - i v


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moz-art à la haydn 1977Play on music for two violins, two small string orchestras, double bass and conduc-tor (after W. a. Mozart’s fragment k. 416d)Dedicated to Tatiana Grindenko and Gidon Kremer

2 string orchestras (3/0/1/1/0 each)

Duration: 13’

First performance: 30 December 1983, Tbilisigeorgian Chamber orchestra – liana isakadze (conductor)


polyphonic tango 1979for chamber ensemble

1(picc).1.1.1(db bn) – 1.1.1.0 – 2 perc (timp, tom-t, side dr, bass dr, cym, bells, vibr). piano. strings (1/1/1/1/1)

Duration: 5‘

First performance: 15 september 1979, Moscowensemble of soloists of the bolshoi Theatre orchestra – gennadi rozhdestvensky (conductor)


moz-art 1980for oboe, harp, harpsichord, violin, violoncello and double bass (after W. a. Mozart’sfragment k. 416d)

allegretto (one movement)

Duration: 10’

First performance: July 1981, lockenhauslockenhaus Festival ensemble – gidon kremer (conductor)

© sikorski, hamburg, for the world except cis · score and parts: sik 1934

three madrigals 1980for soprano, violin, viola, double bass, vibraphone and harpsichord



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three scenes 1980for soprano and percussion


septet 1981-1982for flute, two clarinets, violin, viola, violoncello and harpsichord (or organ)

introduction 1. Perpetuum mobile 2. Chorale

Duration: 18’

First performance: 14 November 1982, Moscowensemble of soloists of the bolshoi Theatre orchestra: alexander golyshev, eduard Myasnikov, Nikolai sokolov, ludmilla ignatyeva, igor boguslavsky, alexander ivashkin, vera Chasovennaya – alexander lazarev (conductor)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · score: ue 18903 / sik 6794 · parts: ue 17824 / sik 6842

the craB 1982for brass ensemble and percussionSecond part of the collaborative work ‘March: The Swan, the Crab and the Pike’Jointly composed by edison Denisov (1. ‘The swan’), alfred schnittke (2. ‘The Crab’), sofia gubaidulina (3. ‘The Pike’) and gennadi rozhdestvensky (percussion parts in 1-3)

0.0.0.0 – 4,3,3,1 – perc

Duration: 5’

First performance: 1982, Moscow


► for the ballet s k e t c h e s [1985], in which M a r c h : T h e s w a n , t h e C r a b a n d t h e P i k e was used, see: s ta g e w o r k s


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music to an imaginary play 1985for ensemble

1. Winter road 2. budding song 3. March

fl. tpt. mouth-organ. guit. perc. piano – 2-3 vocalists (vocalise through combs)

Duration: 10’

First performance: 7 November 1985, Moscow, great hall of the Conservatoireensemble of soloists of the ussr Ministry of Culture state symphony orchestra – gennadi rozhdestvensky (conductor)


3 x 7 1989for clarinet, horn, trombone, harpsichord, violin, violoncello and double bass


Duration: 3’

First performance: 22 april 1989, Wittenensemble of instrumentalists – Johannes harneit (conductor)


moz-art à la mozart 1990for eight flutes and harp (after W. a. Mozart’s fragment k. 416d)

Duration: 10’

First performance: 2 august 1990, salzburgandrás adorján, Wolfgang schulz and students of the 1990 summer academy of the Mozarteum (flutes) – anna lelkes (harp)


five fragmentsBased on paintings By hieronymus Bosch 1994for tenor, violin, trombone, harpsichord, timpani and strings



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c h a m B e r m u s i c

scherzo 1954-1955for piano quintet, later set for orchestralost

intermezzo 1954-1955for piano quintetlost

sonata 1955 for violin and piano 1954-1955

1. [allegro moderato] 2. andante

Duration: 20’

First performance: 9 March 2003, londonDaniel hope (violin) – ivan sokolov (piano)

© sikorski, hamburg, for the world · score: sik 1998 (edited by Daniel hope andivan sokolov)

according to alexander ivashkin s o n a t a 1 9 5 5 was performed in 1955 at the Moscow Conservatoire by leonid Polees (violin) and alfred schnittke (piano).

string Quartet 1959lost

sonata no. 1 for violin and piano 1963Commissioned by Mark Lubotsky 1. andante 2. allegretto 3. largo 4. allegretto scherzando – allegro – largo – allegretto

Duration: 20’

First performance: 28 april 1964, MoscowMark lubotsky (violin) – alfred schnittke (piano)

© sikorski, hamburg, for the world, except cis · parts: sik 1840, sovetsky kompozi-tor, ep 5737

► for the version for chamber orchestra, s o n a t a f o r v i o l i n a n d C h a m -b e r o r c h e s t r a [1968], see: w o r k s f o r s o l o i n s t r u m e n t(s ) & o r c h e s t r a

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string Quartet no. 1 1966Commissioned by Rostislav Dubinsky, primarius of the Borodin QuartetDedicated to the Borodin Quartet 1. sonata 2. Canon 3. Cadenza

Duration: 20’

First performance: 7 May 1967, leningradborodin Quartet

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · study scores: ue ph 425 / sik 6716, edition musica, sovetsky kompozitor · parts: ue 14767 / sik 6715

sonata no. 2 for violin and piano ‘Quasi una sonata’ 1968Dedicated to Lyubov Yedlina and Mark Lubotsky

(one movement)

Duration: 20’

First performance: 24 February 1969, kazanMark lubotsky (violin) – lyubov Yedlina (piano)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · parts: ue 15826, sik 2240, sovetsky kompozitor

► for the version for for violin and chamber orchestra, Q u a s i u n a s o n a - t a [1987], see: w o r k s f o r s o l o i n s t r u m e n t(s ) & o r c h e s t r a

canon in memoriam igor stravinsky 1971for string quartetCommissioned by the London t e m p o music magazine


Duration: 6’

First performance: 1971, londonborodin Quartet

© hans sikorski, hamburg, for the world, except cis · score and parts: sik 2250 · studyscores: tempo, sovetsky kompozitor


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suite in the old style 1972for violin and piano (harpsichord)

1. Pastorale (Moderato) 2. ballet (Allegro – Poco meno mosso – Tempo I – Poco meno mosso – Tempo I) 3. Minuet (Tempo di minuetto – poco più mosso – Tempo I) (attacca) 4. Fugue (Allegro – Poco meno mosso) 5. Pantomime (Andantino)

Duration: 16’

First performance: 27 March 1974, MoscowMark lubotsky (violin) – lyubov Yedlina (piano)

© sikorski, hamburg, for the world, except cis · parts: sik 2298, sovetsky kompozitor

► for schnittke's arrangements of No. 3 (‘Minuet') for two violins, M i n u e t[1976(?)], and for violoncello and piano, M u s i c a N o s t a l g i c a [1992], see: c h a m b e r m u s i c

■ a r r a n g e m e n t f o r s t r i n g o r c h e s t r a by Jolán berta [1982] Commissioned for Berlin Festtage der Musik First performance: 5 october 1982, berlin brandenburgisches kammerorchester berlin – Jolán berta (conductor)


This version was explicitly approved by the composer.

■ a r r a n g e m e n t f o r c h a m b e r o r c h e s t r a by vladimir spivakov and vladimir Milman [1987]

0.2.0.0 – 2.0.0.0 – hpd. strings

First performance: 21 august 1988, kiel Moscow virtuosos – vladimir spivakov (conductor)



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gratulationsrondo (CoNgraTulaTorY roNDo) 1974for violin and pianoDedicated to Rostislav Dubinsky on the occasion of his 50th birthday

allegro (one movement)

Duration: 8’

First performance: 27 March 1974, MoscowMark lubotsky (violin) – lyubov Yedlina (piano)

© sikorski, hamburg, for the world, except cis · parts: sik 1914

■ a r r a n g e m e n t f o r s t r i n g o r c h e s t r a by andrei Pushkarev [2005]

First performance: 11 January 2005, lübeck kremerata baltica

Musical material from g r a t u l a t i o n s r o n d o was later used in ( k ) e i n s o m -m e r n a c h t s t r a u m (1985) for which ► see: o r c h e s t r a l w o r k s

cantus perpetuus 1975for keyboard instrument (piano, harpsichord, organ or celesta), solo percussionist and four percussionists (in the stage corners)

perc: metallophones with a fixed pitch (vibr, tubular bells, tubaphones, glsp, cymbales antiques, metal plates, gongs etc.) and at least 1 tam-t for each player

Duration: 10’-30’

First performance: 14 December 1975, Moscowalexei lubimov (keyboard) – Mark Pekarsky and his ensemble (percussion)

The performance of C a n t u s p e r p e t u u s turns out to be somewhat proble-matic, since the work exists only in the form of a diagram that has to be interpreted by the performers. schnittke regarded the Pekarsky interpretation in the Moscow world première as the final version. unfortunately, it has not yet been possible to fully reconstruct that version.


► for the orchestral version [1981] see: o r c h e s t r a l w o r k s


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prelude in memoriam dmitri shostakovich 1975for two violins or for violin and tape


Duration: 5’

First performance: 5 December 1975, MoscowMark and victor lubotsky (violins)

© sikorski, hamburg, for the world, except cis · study scores: sik 2255, amp (g. schir-mer) 7789, sovetsky kompozitor (in the collection: New Works by soviet Com-posers for solo violin [Noviye sochineniya sovetskikh kompozitorov dlia skripki solo], No. 2)

piano Quintet 1972-1976In memory of my mother Maria Vogel 1. Moderato 2. Tempo di valse 3. andante 4. lento 5. Moderato pastorale

Duration: 29’

First performance: september 1976georgian string Quartet – Nodar gabunia (piano)

© Peters, Frankfurt · sikorski, hamburg (for ch, e, gr, il, is, nl, p, s, dk, n, tr) ·study scores: ep 5791, sovetsky kompozitor · score and parts: sik 2252

► for the orchestral version, i n m e m o r i a m [1977-1978], see: o r c h e s t r a l

w o r k s

moz-art 1976for two violins (after W. a. Mozart’s fragment k. 416d)

allegretto – Moderato – Pesante – adagio lamentoso – Maestoso – allegro (one movement)

Duration: 6’

First performance: February 1976, viennagidon kremer and Tatiana grindenko (violins)

© sikorski, hamburg, for the world, except cis · study scores: sik 2255, amp (g. schir-mer) 7789, sovetsky kompozitor (in the collection: New Works by soviet Com-posers for solo violin [Noviye sochineniya sovetskikh kompozitorov dlia skripki solo], No. 3)


70

minuet 1976 (?)arrangement of s u i t e i n o l d s t y l e (‘Minuet') for two violins

Duration: 5’

hymns i-iv 1974-1977

hymn i for violoncello, harp and timpani [1974]

Quasi Andante

hymn ii for violoncello and double bass [1974]

Adagio

hymn iii for violoncello, bassoon, harpsichord and bells (or timpani) [1975]

Lento

hymn iv for violoncello, double bass, bassoon, harpsichord, harp, timpaniand tubular bells (2 players) [1977]

Allegretto

Durations: 10’, 8’, 4’, 5’

First performance: 26 May 1979, Moscowkarine georgian (violoncello) – rustem gabdullin (double bass) – alexander ir-shai (bassoon) – irina schnittke (harpsichord) – irina blokha (harp) – victor grishin (percussion)

each hymn can be performed separately.

© sikorski, hamburg, for the world, except cis · parts: sik 2249 (hymn i) · scores andparts: sik 2250 (hymn ii), siko 2251 (hymn iii), sik 2308 (hymn iv) · study scores: sovetsky kompozitor, amp (g. schirmer) 7745


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stille nacht 1978for violin and piano on motives of Franz Xaver gruber's Christmas carol


Duration: 4’

First performance: January 1979, leningradgidon kremer (violin) – elena bashkirova (piano)


■ a r r a n g e m e n t f o r v i o l i n a n d s t r i n g s by eckhard schloifer [2000]

First performance: 26 December 2000, riegelsbergMarian Juravlea (violin) – kammerorchester riegelsberg – eckhard schloifer (conductor)


sonata no. 1 for violoncello and piano 1978Commissioned by Universal Edition, ViennaDedicated to Natalia Gutman 1. largo (attacca) 2. Presto (attacca) 3. largo

Duration: 21’

First performance: January 1979, MoscowNatalia gutman (violoncello) – vassily lobanov (piano)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · parts: ue 17114 / sik 6622, sovetsky kompozitor

■ a r r a n g e m e n t f o r v i o l a a n d s t r i n g s by Yuri bashmet [1987]

First performance: berlinYuri bashmet (viola) – Moscow soloists ensemble


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stille musik 1979for violin and violoncelloDedicated to Mikhail Druskin


Duration: 5’

First performance: autumn 1979, Parisoleg kagan (violin) – Natalia gutman (violoncello)


string Quartet no. 2 1980Commissioned by Universal Edition, Vienna 1. Moderato 2. agitato 3. Mesto 4. Moderato

Duration 23’

First performance: May 1980, evian, international Competition of string QuartetsMuir Quartet

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · study scores: ue ph 501 / sik 6720, sovetsky kompozitor · parts: ue 17422 / sik 6719

polka 1980arrangement for violin and piano of ‘The overcoat’, No. 4 from g o g o l s u i t e [1980]Dedicated to Alexander Rozhdestvensky

Moderato

Duration: 3’

First performance: 1993, Moscowalexander rozhdestvensky (violin) – viktoria Postnikova (piano)

© sikorski, hamburg, for the world · parts: sik 2307

■ a r r a n g e m e n t f o r v i o l i n a n d s t r i n g s by sergei Dreznin [1980]


■ a r r a n g e m e n t f o r s t r i n g q u a rt e t by sergei Dreznin [1980]

© sikorski, hamburg, for the world · score and parts: sik 2395


73

septet 1981-1982for flute, two clarinets, violin, viola, violoncello, harpsichord (or organ)

► see: e n s e m b l e m u s i c

leBenslauf 1982for four metronomes (tape), three percussionists and pianoDedicated to Wilfried Brennecke and John Cage

perc (bongo, side dr, tom-t, bass dr, tubular bells, vibr)

Duration: 12’

First performance: 25 april 1982, Witten, Wittener Tage für neue kammermusikChristian roderburg, karl Joseph kels and karl hausgenoss (percussion) – sabine roderburg (piano)


schall und hall 1983for trombone and organ


Duration: 8’

First performance: 22 May 1983, Moscowkonstantin khersonsky (trombone) – oleg Yanchenko (organ)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · parts: ue 17892 / sik 6754


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string Quartet no. 3 1983Commissioned by the Society for New Music, Mannheim 1. andante 2. agitato 3. Pesante

Duration: 20’

First performance: 8 January 1984, Moscowbeethoven Quartet: oleh krysa and Nikolai Zabavnikov (violins) – Fyodor Druzhi-nin (viola) – valentin Feigin (violoncello)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · study score: ue ph522 / sik 6753 · parts: ue 18004 / sik 6752

■ a r r a n g e m e n t f o r s t r i n g o r c h e s t r a by Peter Manning [2006]

■ a r r a n g e m e n t f o r s t r i n g o r c h e s t r a by Misha rakhlevsky M u s i c f o r s t r i n g s

string trio 1985Commissioned by the Alban Berg Society in commemoration of the composer’s 100th anni-versary 1. Moderato 2. adagio

Duration: 25’

First performance: 2 June 1985, Moscowoleh krysa (violin) – Fyodor Druzhinin (viola) – valentin Feigin (violoncello)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · study score: ue ph 528 / sik 6793 · parts: ue 18209a/c / sik 6792

► for schnittke’s own version as P i a n o Tr i o [1992] see: c h a m b e r m u s i c

■ a r r a n g e m e n t f o r s t r i n g o r c h e s t r a by Yuri bashmet [1987] Tr i o s o n a t a First performance: 13 May 1987, Moscow Moscow soloists ensemble – Yuri bashmet (conductor)



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piano Quartet 1988Commissioned by the Kuhmo Chamber Music FestivalDedicated to Oleh Krysa

allegro (one movement)

Duration: 8’

First performance: 29 July 1988, kuhmooleh krysa (violin) – Toby hoffman (viola) – robert Cohen (violoncello) – vassily lobanov (piano)

based on a fragment for piano quartet by the 16-year-old gustav Mahler.

© sikorski, hamburg, for the world, except cis · score and parts: sik 1833

■ o r c h e s t r a l a r r a n g e m e n t by alexander asteriades [2001]

violin. viola. violoncello. strings (at least 3/3/3/3/2)


■ c o m p i l at i o n f o r v i o l i n a n d s t r i n g s by gidon kremer [2002] s u i t e o f F r a g m e n t s

1. Canon ‘an das Frankfurter opernhaus’ [version for violin and strings 1987] 2. Cantata [1994, first movement] 3. Piano Quartet [1988, arrangement by alexander asteriades] 4. Five Fragments on Paintings by hieronymus bosch [1994, second movement]

Duration: 22’

First performance: 4 october 2002, Waldenburg kremerata baltica – gidon kremer (violin/conductor)

© sikorski, hamburg, and universal edition, vienna

string Quartet no. 4 1989Commissioned by the Vienna Concert Hall Society 1. lento 2. allegro 3. lento 4. vivace 5. lento

Duration: 25’

First performance: 21 october 1989, viennaalban berg Quartett

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · study score: ue ph 532 / sik 6846 · parts: ue 19308a/d / sik 6845

76

musica nostalgica 1992arrangement of the Minuet from s u i t e i n t h e o l d s t y l e for violoncello and pianoDedicated to Mstislav Rostropovich

in tempo di Minuetto (one movement)

Duration: 5’

First performance: 1992, TokyoMstislav rostropovich

© sikorski, hamburg, for the world · score and parts: sik 1981

piano trio 1992arrangement of s t r i n g Tr i oDedicated to Alexander Potapov, who saved my life twice 1. Moderato 2. adagio

Duration: 25’

First performance: 25 May 1993, evianMark lubotsky (violin) – Mstislav rostropovich (violoncello) – irina schnittke (piano)

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr) · score and parts: ue 30163 / sik 6875

► for the orginal version as s t r i n g Tr i o [1985] see: c h a m b e r m u s i c

epilogue 1993for violoncello, piano and performance CD(from the ballet ‘ P e e r g y n t ' )

Duration: 30’

First performance: 20 May 1993, evianMstislav rostropovich (violoncello) – irina schnittke (piano)

© sikorski, hamburg, for the world, except cis · parts and CD: sik 1997

► for the orchestral version [1987] see: o r c h e s t r a l w o r k s · for the ballet P e e rg y n t [1986] see: s ta g e w o r k s


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sonata no. 2 for violoncello and piano 1994Dedicated to Mstislav Rostropovich 1. senza tempo 2. allegro 3. largo 4. allegro 5. lento

Duration: 12’

First performance: 17 November 1994, londonMstislav rostropovich (violoncello) – irina schnittke (piano)


Quartet for four percussionists 1994


perc: tubular bells. glsp. vibr. marimba

Duration: 5’

First performance: 27 January 1994, hamburgrüdiger Funk, Claudio von hassel, Frank Polter, Jörg künzer


sonata no. 3 for violin and piano 1994Dedicated to Mark Lubotsky 1. andante 2. allegro (molto) 3. adagio 4. senza tempo (tempo libero ma inquieto)

Duration: 12’

First performance: 10 october 1994, MoscowMark lubotsky (violin) – irina schnittke (piano)



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minuet 1994for violin, viola and violoncelloDedicated to Gidon Kremer, Yuri Bashmet and Mstislav RostropovichDuration: 3’

First performance: 19 october 1994, Moscowgidon kremer (violin) – Yuri bashmet (viola) – Mstislav rostropovich (violoncello)


originally composed as an encore for the first performance of C o n c e r t o f o r T h r e e.

variations 1998for string quartet

Duration: 5’

First performance: 30 april 2000, londonoleh krysa, Natalia lomeiko (violins) – konstantin boyarski (viola) – alexander ivashkin (violoncello)



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s o l o w o r k s

fugue 1953for solo violin

Moderato

Duration: 4’

First performance: 23 october 1999, New Yorkoleh krysa


prelude in memoriam dmitri shostakovich 1975for two violins or for violin and tape

► see: c h a m b e r w o r k s

a paganini 1982for solo violin


Duration: 14’

First performance: 29 september 1982, leningradoleh krysa

© sikorski, hamburg, for the world, except cis · score: sik 883, sovetsky kompozi-tor (in the collection: selected Works by soviet Composers for solo violin [izbrannye proizvedenia sovetskikh kompozitorov dlia skripki solo])

klingende BuchstaBen (souNDiNg leTTers) 1988for solo violoncelloDedicated to Alexander Ivashkin on the occasion of his 40th birthday

andantino (one movement)

Duration: 2’

First performance: 28 December 1988, Moscowalexander ivashkin


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s o l o w o r k s

madrigal in memoriam oleg kagan 1990for violin or violoncello solo


Duration: 6’

First performance of the violoncello version: 13 July 1991, Wildbad kreuthNatalia gutman

First performance of the violin version: 1994, New York (unconfirmed)gidon kremer

© sikorski, hamburg, for the world, except cis · scores: sik 1889 (violoncello version) ·sik 1914 (violin version)

herrn alfred schlee zum 90. geBurtstag 1991for solo viola

Duration: 3’

First performance: 18 November 1991, vienna, konzerthausgarth knox

© universal edition, vienna · score: ue 19991

improvisation 1993for solo violoncelloCommissioned by the ‘Acanthes’ Contest, October 1994Dedicated to Mstislav Rostropovich

andante poco rubato (one movement)

Duration: 7’

First performance: 19 June 1994, ParisMstislav rostropovich


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w o r k s f o r k e y B o a r d

seven preludes and fugue 1953-1954for piano

1. Prelude in a flat major (Moderato) 2. Prelude in D minor (Presto) 3. Prelude in e minor (Lento) 2. Prelude in e minor (Andante) 3. Prelude in a major [Andante] 7. Prelude in D minor [Maestoso] 8. Fugue in b minor ––

First performance: 14 February 2009, londonDrosostalitsa Moraiti

variations 1954-1955for pianoDuration: 12’


prelude and fugue 1963for piano

1. andante 2. allegretto

Duration: 8’

First performance: 1965, Moscowleonid brumberg

© sikorski, hamburg, for the world, except cis · score: sik 1984, sovetsky kompo-zitor (in the collection: The Young Musicians library – Motley leaflets [bibliote-ka yunogo muzykanta – pyostrye listki])

82


improvisation and fugue 1965for piano

1. lento 2. vivo

Duration: 7’

First performance: april 1973, Moscowvladimir krainev

© sikorski, hamburg, for the world, except cis · score: sik 1984, sovetsky kompo-zitor (in the collection: Concert Pieces by soviet Composers for Piano [kontsert-nye proizvedenia sovetskikh kompozitorov dlia fortepiano], No. 2)

variations on a chord 1965for piano

grave – lento – allegretto – andante – agitato – lento – Maestoso – andante (one movement)

Duration: 5’

First performance: 20 June 1966, Moscowirina schnittke

© gerig, Cologne · study scores: gerig (in the collection: Neue sowjetische klavier-musik), breitkopf & härtel 618 (in the collection: Neue sowjetische klaviermusik heft 2), muzyka (in the collection: Contemporary Piano Musik for Children. 7th grade of Children’s Music school [sovremennaya fortepiannaya muzyka dlia detei. 7 klass DMsh])

83


little pieces 1971for pianoDedicated to my son Andrei 1. Folk song 2. in the Mountains 3. Cuckoo and Woodpecker 4. Melody 5. Tale 6. Play 7. Children’s Piece 8. March

Duration: 10’

First performance: 21 December 1971, Moscowandrei schnittke (only nos. 1-4)

© sikorski, hamburg, for the world · scores: sik 2366, sovetsky kompopozitor (inthe collection: For the small ones. New Pieces for Piano by soviet Composers [Dlia samykh malenkikh. Novye piesy sovetskikh kompozitorov dlia fortepiano] No. 1 [nos. 1-4])

homage to igor stravinsky, sergei prokofiev 1979and dmitri shostakovichfor piano six-hands

senza metro, tempo libro – allegretto, ma poco pesante – senza metro (one movement)

Duration: 7’

First performance: 28 December 1979, Moscowviktoria Postnikova, gennadi rozhdestvensky, alexander bakhchiyev


84


two short pieces 1980for organDedicated to Thomas Daniel SchleeDuration: 8’

First performance: 1980, viennaThomas Daniel schlee

© universal edition, vienna · sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk,n, tr) · score: ue 17480 (in the collection: Das neue orgelalbum, second vol.)

■ a r r a n g e m e n t f o r b aya n by Friedrich lips [1997]

First performance: 14 February 1997, amsterdam Friedrich lips


sonata no. 1 for piano 1987Dedicated to Vladimir Feltsman 1. lento (attacca) 2. allegretto [attacca] 3. lento [attacca] 4. allegro – Pesante

Duration: 25’

First performance: 22 May 1988, New Yorkvladimir Feltsman

© le Chant du Monde, Paris · sikorski, hamburg (for d, ch, dk, n, s. nl, gr, tr, il, is) · score: cdm pn 2123 / sik 6833

three fragments 1990for harpsichord

1. andante 2. vivo 3. lento

Duration: 3’

First performance: 14 June 1990, hamburggünter Jena

© sikorski, hamburg, 1990, for the world, except cis · score: sik 1843

85


five aphorisms 1990for pianoDedicated to Joseph Brodsky and Alexander Slobodyanik 1. Moderato assai 2. allegretto 3. lento 4. senza tempo 5. grave

Duration: 14’

First performance: 21 october 1990, New Yorkalexander slobodyanik (with poems by Joseph brodsky recited between the mo-vements)


sonata no. 2 for piano 1990Dedicated to Irina Schnittke 1. Moderato 2. lento 3. allegro moderato

Duration: 20’

First performance: 1 February 1991, lübeckirina schnittke


sonata no. 3 for piano 1992Dedicated to Justus Frantz 1. lento 2. allegro 3. lento 4. allegro

Duration: 17’

First performance: 14 March 1996, Tel avivboris berman


86

sonatina 1994for piano four-handsTo my granddaughter Irina and her grandmother Irina

allegro moderato (one movement)

Duration: 4’


stream 1969electronic music

Duration: 4’



87

c a d e n z a s

cadenza 1975to W. a. Mozart’s Piano Concerto in C minor, k. 491 (first movement)

Duration: 5’


three cadenzas 1975/1977to ludwig van beethoven’s violin Concerto in D major, op. 61for solo violin and timpani (first movement), for solo violin (second movement) and for solo violin, 10 violins and timpani (third movement)

Total duration: 8’


The cadenza of the first movement was composed in 1975 and beethoven's vio-lin Concerto was performed with this cadenza for the first time the same year in kemerovo by violinist Mark lubotsky under the baton of lev Markiz. at gidon kremer's request schnittke composed cadenzas for the second and third move-ment in 1977. kremer played the concerto with all three of schnittke's cadenzas in salzburg in 1977. There is another (never performed) version of the third cadenza, which was dicovered in the schnittke family archives in 2010.

two cadenzas 1980to W. a. Mozart’s Piano Concerto in C major, k. 467 (first and third movement)

Duration: 5’


cadenza 1983to W. a. Mozart’s Piano Concerto in C major, k. 503 (first movement)

Duration: 3’


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two cadenzas 1983to W. a. Mozart’s bassoon Concerto in b flat major, k. 191 (first and second move-ment)

Duration: 3’

© sikorski, hamburg, for the world, except cis · scores: sik 1841 · sovetsky kompo-zitor (in the collection: Works for solo bassoon by soviet composers [Proizve-denia sovetskikh kompozitorov dlia fagota solo])

two cadenzas 1990to W. a. Mozart’s Piano Concerto in b flat major, k. 39 (first and third movement)

Duration: 3’

First performance: 19 april 1991, hamburg (in John Neumeier’s ballet ‘Fenster zu Mozart’)Carol Tainton


c a d e n z a s

89

a r r a n g e m e n t s a n d t r a n s c r i p t i o n s

pantomime [w o l f g a n g a m a d e u s m o z a r t] 1975suite for chamber ensemble (instrumentation of Mozart’s Fragment k. 416d)

1. Pantalone and Colombine [Allegro moderato] 2. The Dottore (Maestoso) 3. Pierrot (Allegro) 4. The Dottore and Colombine (Poco adagio) 5. a Table is brought in (Andante molto) 6. The afflicted Colombine (Adagio) 7. harlequin [Allegro] 8. The Turk (Maestoso) 9. Colombine’s Flirtation (Larghetto) 10. Pierrot Chases harlequin (Allegro) 11. harlequin’s Defeat (Maestoso) 12. Pierrot is Frightened (Adagio) 13. Finale [Allegro moderato]

1.0.1.0 – 0.0.0.0 – 2 perc (bass dr, cym, tubular bells, glsp). org. strings (3/0/1/1/1)

Duration: 15’

First performance: New Year’s Day 1975/1976, Moscowgidon kremer, Tatiana grindenko, Natalia gutman, oleg kagan, alexei lubimov and others


two preludes for small orchestra [d m i t r i s h o s t a k o v i c h] 1976(Transcription of Nos. 1 and 2 from Five Preludes for Piano [1921])

1. allegro moderato e scherzando 2. andante

Duration: 3’

© sikorski, hamburg, for the world · score: sovetsky kompozitor (in the collection:repertory for the symphony orchestras of Children’s Music schools and se-condary Music schools. Pieces by soviet Composers [repertuar simfonicheskikh orkestrov DMsh i muzykalnykh uchilishch. Piesy sovetskikh kompozitorov])

© sikorski, hamburg (for d, ch, e, gr, il, is, nl, p, s, dk, n, tr)

90


Queen of spades (PiQue DaMe) [p y o t r t c h a i k o v s k y] 1977opera in two acts after alexander Pushkin

Première: 10 November 1990, karlsruhebadischer staatsopernchor – badische staatskapelle – Myron romanul (conductor) – Yuri lyubimov (director)


The arrangement was achieved in close collaboration with Yuri lyubimov, who was responsible for the revision of the text. The alterations consist mainly of deletions of choral parts and certain scenes in order to enhance the dramatic structure of thepiece. sections with spoken text from Pushkin’s novel were added. These spoken parts are accompanied by music for harpsichord newly composed by schnittke based on original material from Tchaikovsky’s opera.

ragtime [s c o t t j o p l i n] 1984for orchestraTranscription of a piano ragtime

3(picc).2.3(Eb cl).2 – 2.4.1.1 – perc (timp, tam-t, tubular bells, jazz drums, vibr). piano. hpd

First performance: 1 December 1984, Moscowussr Ministry of Culture state symphony orchestra – gennadi rozhdestvensky (conductor)

serenade [a d o l f j e n s e n] 1984for mezzo-soprano and orchestraTranscription of ‘serenade’ for mezzo-soprano and piano

2.1.2.2 – 2.2.0.0 – timp. harp. strings (6/5/4/3/2)

First performance: 17 February 1984, MoscowTatiana Yerastova (mezzo-soprano) – ussr Ministry of Culture state symphony orchestra – gennadi rozhdestvensky (conductor)

91

Beschwörung [f r i e d r i c h n i e t z s c h e] 1984for mezzo-soprano and orchestraTranscription of ‘beschwörung’ for mezzo-soprano and piano

2.3(cor anglais).2.3(db bn) – 4.3.3.1 – timp. tubular bells. harp.cel. strings

First performance: 17 February 1984, MoscowTatyana Yerastova (mezzo-soprano) – ussr Ministry of Culture state symphony orchestra – gennadi rozhdestvensky (conductor)

canon ‘an das frankfurter opernhaus’ [a l b a n b e r g] 1985/1987 arrangement of the like-named work by alban berg

Duration: 4’

■ v e r s i o n f o r n i n e s t r i n g s [1985]

First performance: 2 april 1985, Moscow lithuanian Chamber orchestra – saulius sondeckis (conductor)

■ v e r s i o n f o r v i o l i n a n d s t r i n g s [1987]

First performance: 1 august 1987, Dartington Mark lubotsky (violin)

© universal edition, vienna

► for details concerning gidon kremer’s s u i t e o f F r a g m e n t s , for whichC a n o n ‘ a n d a s F r a n k f u r t e r o p e r n h a u s’ was used, see: c h a m b e r m u s i c , P i a n o Q u a r t e t [1988]


92

i n c i d e n t a l m u s i c t o f i l m s f e a t u r e f i l m s

introduction 1962 Produced by Mosfilm – igor Talankin (director)

Duration: 22’

© sikorski, hamburg, for the world, except Cis

the adventures of a dentist 1965Produced by Mosfilm – elem klimov (director)


just a little joke 1966Produced by Mosfilm – andrei smirnov (director)

the commissar (Die koMMissariN)(based on vasily grossman's short story ‘in the Town of berdichev') 1967Produced by Maxim gorky studio – alexander askoldov (director)


day stars 1968Produced by Mosfilm – igor Talankin (director)

the ownerless house 1968Produced by Mosfilm – budimir Metalnikov (director)

the angel 1968Produced by Central experimental Film studio – sergei smirnov (director)

the sixth of july 1968Produced by Mosfilm – Juli karasik (director)

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used cartridge cases 1968Produced by Maxim gorky studio – evgeni Fridman (director)

sick at heart (after a story by anton Chekhov) 1969Produced by Mosfilm – boris blank (director)

uncle vanya (after anton Chekhov’s like-named play) 1971Produced by Mosfilm – andron Mikhalkov-konchalovsky (director)


Belorussian station 1971Produced by Mosfilm – andrei smirnov (director)

sport, sport, sport 1971Produced by Mosfilm – elem klimov (director)


the seagull (after anton Chekhov’s like-named play) 1971Produced by Mosfilm – Juli karasik (director)


you and me 1972Produced by Mosfilm – larisa shepitko (director)

where the arBat crosses BuBulinas street 1973Produced by Mosfilm – Manos Zakharias (director)

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hot snow 1973Produced by Mosfilm – gavriil egiazarov (director)

the right to jump 1973Produced by Mosfilm – valery kremnyov (director)

the world today (aND YeT i believe) (two parts) 1972-1974Pasticcio with films by elem klimov and Marlen khretsievProduced by Mosfilm – Michail romm (director)

cities and years 1974Produced by Mosfilm – alexander Zarkhy (director)

the captain’s daughter (after alexander Pushkin) 1974Produced by Mosfilm – Pavel resnikov (director)

agony (part one) 1974Produced by Mosfilm – elem klimov (director)


autumn 1975Produced by Mosfilm – andrei smirnov (director)

rikki-tikki-tavi (after rudyard kipling’s novel) 1975Produced by Tsentrnauchfilm – alexander Tsguridi (director)



95

selecting a target (two parts) 1976Produced by Mosfilm – igor Talankin (director)

the white steamer 1976Produced by kirghizfilm – bulat shamshiev (director)


how tsar peter got the Black man married 1976(Wie Zar PeTer seiNeN MohreN verheiraTeTe)Produced by Mosfilm – alexander Mitta (director)

Duration: 53’


clowns and kids 1976Produced by Mosfilm – alexander Mitta (director)


the ascent (Der auFsTig) 1976Produced by Mosfilm – larisa shepitko (director)


travka’s adventures 1977Produced by Mosfilm – arkadi kordon (director)

the life-story of an unknown actor 1977(Die lebeNsgesChiChTe eiNes uNbekaNNTeN sChausPielers)Produced by Mosfilm – alexander Zarkhy (director)



96

my memories take me to you (after alexander Pushkin) 1977Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (di-rector)

human reQuital 1977Produced by Mosfilm – alexander svetlanov (director)

father sergei (after lev Tolstoy) 1978Produced by Mosfilm – igor Talankin (director)


the plane crew (two parts) 1980 Produced by Mosfilm – alexander Mitta (director)

agony (part two) 1981Produced by Mosfilm – elem klimov (director)


sturdy Boy 1982Produced by Tsentrnaukhfilm – alexander Tsguridi and Nana kldiashvili (directors)

star fall 1982 Produced by Mosfilm – igor Talankin (director)

the tale of wanderings 1982(Das MÄrCheN Der WaNDeruNgeN)Produced by Mosfilm – alexander Mitta (director)



97

the leave-taking (after valentin rasputin’s like-named novel) 1983Produced by Mosfilm – larisa shepitko and elem klimov (directors)Jointly composed by alfred schnittke, vyacheslav artyomov, sofia gubaidulina and viktor suslin

the darling of the audience 1983Produced by Tsentrnaukhfilm – alexander Tsguridi and Nana kldiashvili (directors)

the white poodle 1984 Produced by Tsentrnaukhfilm – alexander Tsguridi and Nana kldiashvili (directors)

the Balcony 1988Produced by kazakhfilm – kalykbek sadykov (director)

visitor of a museum 1989Produced by lenfilm – konstantin lopushinsky (director)

russia – love for this country 1990 Produced by shigoto Film Productions and Mosfilm – alexander Mitta (director)

the last days of st. petersBurg (silent movie of 1927) 1992Produced by Meshrabprom-rus – vsevolod Pudovkin (director) – Nathan Zarkhy (script) – anatoli golovnia (camera) – Music by alfred schnittke and andrei schnittkeCommissioned by zdf tv Channel

1(picc).1(cor anglais).1(Eb cl, bass cl).1 – 1.1.1.0 – 2 perc (timp, flex, tom-t, side dr, bass dr, cym, 2 tam-t, tubular bells, vibr). harp. piano. strings (2/2/2/2/1) – 6 male voices, 1 female voice (soprano)

Duration: 96’

First showing: 8 November 1992, Frankfurt ensemble Modern – sabine Fues, soprano – members of the Figuralchor and the Jugendchor of hessischer rundfunk – Frank strobel, conductor



98

the master and margarita (after Mikhail bulgakov) 1993Yuri kara (director)

Duration: 30’



99

the rose and the cross (after alexander blok) 1962Produced by Tv film – lev elagin (director)

aim the Barrage at us (four parts) 1963-1964Produced by Mosfilm – sergei kolosov (director)

the concealed caBallero (after Pedro Calderón de la barca) ~1965Produced by Tv film – evgeni savadski (director)

the night call 1968Produced by ekran studio – valerian kvachadze (director)

the waltz 1969Produced by Mosfilm studio, Tv section – viktor Titov (director)


the last run of the ‘alBatross’ (four parts) 1971Produced by ekran studio – leonid Pcholkin (director)

a cottage in kolomna 1971Produced by Mosfilm – lev elagin (director)

my past and my thoughts 1973(Die vergaNgeNheiT uND Die geDaNkeN)17-part production after alexander herzenProduced by literature and Drama Tv Department – lev elagin (director)


i n c i d e n t a l m u s i c t o f i l m s t v p r o d u c t i o n s

100

the cherry orchard (after anton Chekhov’s like-named play) 1975 Produced by Mosfilm – leonid heifits (director)

■ a r r a n g e m e n t f o r c h a m b e r e n s e m b l e by sergei Pavlenko

flute, 4 violins, double bass

1. Mazurka 2. Cotillon

trainers (eight parts) 1976 Produced by Tsentrnaukh film – alexander Tsguridi and Nana kldiashvili, directors

the fancies of faryatev (after lev Tolstoy) 1979 Produced by lenfilm – ilia averbach (director)

little tragedies (three-part production after alexander Pushkin) 1980 Produced by Mosfilm – Mikhail schweizer (director)


eugene onegin (after alexander Pushkin’s poem) 1981 Produced by Tv film – P. krotenko (director)

dead souls (four-part production after Nikolai gogol’s novel) 1984 Produced by Mosfilm – Mikhail schweizer (director)


pushkin’s poetry 1988Music by alfred schnittke and Dmitri shostakovichProduced by Tv film – ludmila khmelnitskaya (director)


101

and a light is shining through the darkness 1989Play by Mikhail kosakov after lev Tolstoy’s novelProduced by Tv film – Mikhail kosakov (director)

incident at vichy 1989Play by Mikhail kosakov after arthur Miller’s novelProduced by Tv film – Mikhail kosakov (director)


102

the glass harmonica 1968Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)Reconstruction of the original version by Frank Strobel

3(picc, alto flute).2.3(eb clar,bass clar).alto sax. tenor sax. bar sax.3(db bn) – 4.3.3.1 – perc (timp, tgl, rattle, 2 wood bl, 3 bongos, side dr, bass dr, cym, susp.cym, tam-t, balls, 2 glsp, xyl, vibr, marimba). el.guit. 2 harps. cel. piano. ekvodin. ionika. theremin. el.acc. strings

First performance with live orchestra: 22 august 2011, TokyoTokyo symphony orchestra – kazuyoshi akiyama (conductor)


a Ballerina aBoard 1969Produced by all-union’s animated Cartoons studio – lev atamanov (director)

the wardroBe 1971Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)

cheer up, the worst is yet to come 1972Produced by all-union’s animated Cartoons studio – lev atamanov (director)

the Butterfly 1972Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)


the strange little frog 1972(The FuNNY MerrY-go-rouND No. 4)Produced by all-union’s animated Cartoons studio – valery ugarov (director)

i n c i d e n t a l m u s i c t o f i l m s a n i m a t e d c a r t o o n s

103

i n c i d e n t a l m u s i c t o f i l m s a n i m a t e d c a r t o o n s

in faBleworld 1973Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)

1. Curiosity Cabinet i 2. Curiosity Cabinet ii 3. Departure of the Cock 4. The bandsman – his ending 5. The Fainting of the Cuckoo 6. Cuckoo 7. The Feast 8. Cuckoo and Cock 9. Cock 10. The street 11. Nightingale 12. Departure of the Nightingale 13. epilogue

1(picc).0.ten sax.0 – 0.1.1.0 – 2 perc, el. guit. cel/ionica. piano/hpd. vl. db – tenor, baritone, mixed choir

Duration: 20’


my favourity time 1980Produced by all-union’s animated Cartoons studio (?) – andrei khrzhanovsky (director)

i am with you again (after alexander Pushkin) 1981Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)

pencil and eraser 1982(The FuNNY MerrY-go-rouND No. 12)Produced by all-union’s animated Cartoons studio – elena gavrilko (director)

autumn 1982Produced by all-union’s animated Cartoons studio – andrei khrzhanovsky (director)

104

our gagarin 1971Produced by Central Documentary Film studio – irina besarabova (director)

chile fights and hopes 1972Produced by Central Documentary Film studio – Yuri Monglovsky (director)

the arduous roads of peace (The balaNCe oF Terror) 1973Produced by Central Documentary Film studio – Mikhail romm (director), com-pleted by elem klimov and Marlen khutsiev

paradoxes of evolution 1979Produced by Tsentrnaukhfilm – alexander Tsguridi and Nana kldiashvili (directors)

larisa (documentary film in commemoration of larisa shepitko) 1980Produced by Mosfilm – elem klimov (director)

what does BaBirussya need tusks for? 1981Produced by Tsentrnaukhfilm – alexander Tsguridi and Nana kldiashvili (directors)

i n c i d e n t a l m u s i c t o f i l m s d o c u m e n t a r y f i l m s

105

the adventures of a dentist 1965Compilation by Frank Strobel [2003]

1. Masha’s song (Tempo di valse) 2. gloria (Maestoso) 3. The Park (Tempo di valse) 4. Pantomime (Allegretto) 5. Charleston 6. spring 7. Waltz (Moderato) 8. Despair (Andante) 9. Finale

3(picc).2.3(Eb clar).alto sax. tenor sax. baritone sax.2 – 4.3.4(db trbn).2 – timp. perc (tgl, wood bl, tom-t, side dr, bass dr, cym, bells, glsp, marimba). banjo. 2 guit. el.guit. harp. cel. piano. hpd. synthesizer. strings – banda (No. 7): 2 cornets, 4 horns (2 alto, tenor, baritone)

Duration: 27’


■ a r r a n g e m e n t f o r l i g h t m u s i c e n s e m b l e by P. Dementev C h a r l e s t o n (No. 5)

study score: sovetsky kompozitor Publishers [1975] (in the collection: Concert and Dance hall repertory for light Music ensemble [kontsertno-tantsevalny reper-tuar estradnogo ansamblia] No. 3)

s u i t e s f r o m i n c i d e n t a l m u s i c t o f i l m s

106

the commissar (Die koMMissariN) 1967Compilation by Frank Strobel [2002]

1. vavilova’s Walks Through the City (Andantino) 2. Wedding (Allegro) 3. attack (Agitato) 4. game (Andantino – Lento – Allegro vivace – Allegro vivace – Lento) 5. entrance into the City (Andante) 6. love (Andante) 7. Cellar (Moderato – Allegretto) 8. rain (Lento – Andante) 9. Dream (Lento. Tempo rubato – Lento) 10. Wandering of the Damned (Pesante – Poco più mosso) 11. insight (Andante)

3(picc).3.4(Eb clar, bass cl, alto sax).3(db bn) – 4.4.4.1 – perc (timp, sleigh bells, 3 wood bl, 2 bongos, 3 tom-t, tamb [ad lib.], side dr, bass dr, cym, tam-t, bells, xyl, vibr, marimba). gtr. harp. cel. 2 pianos. el.org. strings (12/10/10/10/6) – female choir

Duration: 48’

First performance: 5 November 2005, berlinradio-sinfonieorchester berlin – Frank strobel (conductor)


the glass harmonica 1968Compilation by Frank Strobel [2003]

1. The Musician and the Carillon 2. Procession 3. The Faces – The Flights – Pyramids 4. The Musician – The awakening

3(picc).2.3(Eb clar, bass clar). a sax. t sax. bar sax.3(db bn) – 4.3.3.1 – perc (timp, tgl, guiro, rattle, wood bl, 3 tom-t, side dr, bass dr, cym, susp.cym, tam-t,bells, glsp, xyl, vibr). el.guit. bass gtr. harp. cel. piano. ekvodin. termenvox. el.org. el.acc. strings (5-stringed db)

Duration: 21’



107

the waltz 1969Compilation by Frank Strobel [2003]

1. building plot 2. Coach 3. Factory 4. vovka

3(picc).3(cor anglais).3(Eb clar, bass clar).3(db bn) – 4.4.4.1 – perc (timp, 2 wood bl, 3 tom-t, side dr, cym, 2 susp.cym, bells, glsp, vibr, marimba). harp. cel. piano. strings

Duration: 12’

First performance: 22 March 2006, landaustaatsphilharmonie rheinland-Pfalz – Frank strobel (conductor)


uncle vanya 1971Probably compiled by Alfred Schnittke 1. overture 2. sonia 3. epilogue

3.3.3(bass cl).3(db bn) – 4.4.3.1 – perc (timp, side dr, cym, bells, tam-t, vibr, marimba, cel). harp. piano. strings

Duration: 23’


108

sport, sport, sport 1971Compilation by Gennadi Rozhdestvensky [1992]

1. Fanfares 2. greece 3. Fans 4. Tigers 5. Winners 6. Finale

2.2.2.2 – 4.3.3.1 – timp, 3 perc (xyl, vibr). cel. piano. strings

Duration: 10’


Compilation by Frank Strobel [2005]

1. Title Music – interview (Moderato) 2. greece – The bath (Adagio – Pesante) 3. Future (Minuet) 4. song of the salesman kalashnikov (Allegro) 5. sports Fans (Minuet – Fugue – Allegro) 6. The Form of Modern sport – Training – Winners – Finale (Allegro molto – An- dante)

3(2picc).3(cor anglais).3(Eb clar, bass clar).alto sax.tenor sax.baritone sax.3(db bn) – 4.4.4.1 – timp. perc (tgl, flex, ratchet, 3 bongos, 3 tom-t, drum set, side dr, bass dr, cym, tam-t, bells, glsp, vibr, marimba). mandoline. 3 el.guit. 2 harps. cel. piano. el.org (ionika). acc. strings – choir (sampler)

Duration: 30’



109

my past and my thoughts 1973(Die vergaNgeNheiT uND Die geDaNkeN)Compilation by Frank Strobel [1999]

1. st. Petersburg 2. Madonnas 3. shadows 4. Finale 5. Minuet 6. The ending of the revolution 7. sad Theme 8. The Wind 9. Cancan ii

2(picc).2.3(bass cl).3(db bn) – 4.2.3.1 – timp. perc (side dr, bass dr, tam-t, bells, vibr). harp. el org. piano. hpd. strings (6/5/4/4/3) – mixed choir

Duration: 14’

First performance: 29 March 1999, berlinradio-sinfonieorchester berlin and Choir – Frank strobel (conductor)


agony 1974Compilation by Frank Strobel [1997]

1. introduction 2. Waltz 3. Tango 4. Finale

3(picc).3.3(bass clar).3(db bn) – 4.4.4.1 – 2 perc (side dr, bass dr, cymb, tam-t, bells, glsp, xyl, marimba). 2 el.gtr. bass gtr. harp. cel. piano. hpd. org. strings – solo violin (Tango)

Duration: 21’

First performance: 30 January 1997, hamburghamburger symphoniker – Frank strobel (conductor)


Compilation by Emin Khachaturyan 1. alexander’s Palace 2. The Ninth of January 3. Waltz 4. Farewell 5. Conclusion 6. Finale


110

rikki-tikki-tavi 1975Compilation by Frank Strobel [2003]

1. Title-Credit Music (Lento – Moderato) 2. Threat and rescue (Lento – Agitato) 3. Night (Lento – Adagio) 4. legend (Moderato) 5. struggle (Agitato) 6. epilogue (Moderato)

3(picc).3(cor anglais).3(Eb clar, bass clar).3(db bn) – 4.4.4.1 – timp. perc (flex, 2 temple bl, 3 tom-t, drums, bass dr, cym, tam-t, bells, glsp, marimba). guit. el.guit. bass guit. harp. piano. el.org/org/cel. strings

Duration: 24’


the ascent (Der auFsTieg) 1976Compilation by Frank Strobel [2003]

1. sotnikov’s Death [Lento] 2. on the sleigh (Lento) 3. remorse (Lento)

4.2.4(bass cl).3(db bn) – 4.4.4.1 – perc (timp, bass dr, tam-t, bells, vibr), el.guit. bass guit. harp. cel. piano. hpd. el.org. strings (12/10/8/8/4)

Duration: 15’


clowns and kids 1976Compilation by Frank Strobel [2003]

1. Title-Credit Music (Vivo) 2. intermezzo [Tempo di valse] 3. acrobats (Moderato, poco pesante) 4. in hospital (Moderato) 5. Waltz

3(picc).2.4(Eb clar, bar sax).3(db bn) – 4.3.3.1 – perc (timp, flex, tom-t, side dr, bass dr, cym, bells, xyl). el.guit. bass guit. harp. cel. piano. hpd. acc. el.org. strings

Duration: 10’

First performance: 7 March 2008, PoznanFilharmonia Poznanska ‘Tadeusz szeligowski’ – Frank strobel (conductor)



111

how tsar peter got the Black man married 1976(Wie Zar PeTer seiNeN MohreN verheiraTeTe)Compilation for small orchestra by Alfred Schnittke 1. Minuet 2. gavotte

study score: Muzyka Publishers [1979] (in the collection: repertory for symphony orchestras of Children’s Music schools. Pieces by soviet Composers [repertuar sim-fonicheskikh orkestrov DMsh. Piesy sovetskikh kompozitorov] No. 3)

Compilation by Gennadi Rozhdestvensky [1999]

1. introduction 2. March 3. France 4. ballade of hannibal 5. Carnival season 6. Damage 7. Meeting 8. Chant

4(2 picc).2.4(Eb cl).2 – 4.4.3.1 – perc (timp, tgl, flex, ratchet, woodbl, 2 tom-t, tamb, side dr, bass dr, cym, tam-t, bells, glsp, xyl, vibr, marimba). el.gtr. bass gtr. harp. cel. piano. hpd. org. strings – baritone. mixed choir. boys’ choir

Duration: 40’

the life-story of an unknown actor 1977(Die lebeNsgesChiChTe eiNes uNbekaNNTeN sChausPielers)Compilation by Frank Strobel [2002]

1. Theme – Title-Credit Music (Moderato) 2. agitato i – sled (Agitato) 3. agitato ii – Journey (Moderato) – intermezzo (Moderato) 4. Waltz (Farewell) 5. Theme and March – Theatre [Moderato] – Vivo 6. epilogue – Finale (Moderato)

2.2.3.2 – 4.2.4.1 – perc (timp, trgl, 2 bongos, tom-t, side dr, susp.cym. bells, vibr, marimba). 2 el.guit. bass guit. harp. cel. piano. hpd. el.org. strings

Duration: 19’

First performance: 5 November 2005, berlinrundfunk-sinfonieorchester berlin – Frank strobel (conductor)



112


little tragedies 1980Compilation and arrangement by Yuri Kasparov 1. Waltz i 2. Night 3. barcarole 4. st. Petersburg 5. Mozart’s improvisation 6. Marching Tune 7. Polka 8. Waltz ii

1.1.1.1 – 1.1.1.0 – 2 perc (timp, tgl, guiro, side dr, bass dr, susp.cym, tam-t, tubular bells, glsp, vibr, marimba). harp. cel/piano. strings (1/1/1/1/1)

Duration: 20’

First performance: 29 october 1994, heidelberg, 9. internationales Festival für Neue MusikasM ensemble Moscow – alexei vinogradov (conductor)


the tale of wanderings 1982(Das MÄrCheN Der WaNDeruNgeN)Compilation by Frank Strobel [2003]

1. Construction of the ‘bat’ and Flight 2. Crash of the Carriage – The sea 3. Declaration of love – orlando’s Theme 4. Playing Cat-and-Mouse – Fire 5. May Dance – The Cafe – The hunt 6. The Plague 7. Minuet 8. Dance – Waltz – orlando’s Death 9. The Destruction of the Castle 10. Finale

4(2picc).3(cor anglais).4(Eb clar, bass clar).3(db bn) – 4.4.4.euphonium.1 – timp. perc (tgl, flex, wood bl, bongos, tom-t, side dr, bass drum, cym, hihat, tam-t, bells, glsp, vibr, marimba). el.gtr. bass guit. harp. cel. piano. org. syn-thesizer. strings

Duration: 45’


113

dead souls 1984Compilation by Gennadi Rozhdestvensky [1993]

1. introduction (Andante – Vivo) 2. Polka (Allegretto) 3. Funeral March (Andante) 4. March 5. Plyushkin’s Youth (Andante) 6. Mazurka 7. in Manilov’s house (Moderato) 8. Waltz 9. gallop (Presto)

4(2picc).3(cor anglais).4(Eb cl, bass cl).3(db bn) – 4.4.bar.4.1 – perc (timp, cast, flex, whip, 3 temple bl, 2 wood bl, side dr, bass dr, cym, tam-t, tubular bells, glsp, xyl, vibr, marimba). bass guit. harp. cel. piano. hpd. org. strings

Duration: 30’

First performance: 14 april 1994, bergenPhilharmonic orchestra of bergen – gennadi rozhdestvensky (conductor)


the last days of st. petersBurg 1992Compilation by Frank Strobel [2003]

Five movements without titles

1(picc).1(cor anglais).1(Eb cl, bass cl).1 – 1.1.1.0 – 2 perc (timp, flex, tom-t, side dr, bass dr, cym, 2 tam-t, tubular bells, vibr). harp. piano. strings (2/2/2/2/1)

Duration: 12’



114

the master and margarita 1993Compilation by Frank Strobel [1997]

1. Master and Margarita 2. voland 3. Foxtrott 4. Tango 5. Funeral March 6. ravel’s bolero 7. Master and Margarita

4.3.4.3 – 4.4.4.1 – perc (timp, tgl, tom-t, side dr, bass dr, cym, susp.cym, tam-t).el gtr. harp. cel. piano. hpd. org. synthesizer. strings

Duration: 13’

First performance: 30 January 1997, hamburghamburger symphoniker – Frank strobel (conductor)



115

i n c i d e n t a l m u s i c t o p l a y s

mayakovsky’s deButPoem by vladimir Mayakovsky

Première: around 1958

someBody’s lifePlay by Dmitri Cholendro

Première: 1 December 1965, Moscow, Mossoviet Theatreevgeni savadski (director)

the colonel’s widowPlay by Yuhan smuul

Première: 17 april 1966, Moscow, Mossoviet Theatrelev Tanyuk (director)

Boris godunovPoem by alexander Pushkin

Première: late 1960s

way of the crossPlay based on alexei Tolstoy’s like-named novel

Première: 3 January 1970, Moscow, Central Theatre of the soviet armyarseni Yachalchik (director)

caesar and cleopatraPlay in 5 acts by george bernard shaw


116


don carlosDramatic poem by Friedrich schiller


► for e i g h t s o n g s and r e q u i e m from the incidental music to Friedrich schiller’s drama ‘Don Carlos’ see: v o c a l w o r k s

a duck shooting partyPlay by alexander vampilov

Première: 1978

the inspector’s talePlay after Nikolai gogol

Première: 9 June 1978, Moscow, Taganka TheatreYuri lyubimov (director)

► for the choreographic fantasia after themes by Nikolai gogol s k e t c h e s [1985] see: s ta g e w o r k s · for g o g o l s u i t e [1980] see: o r c h e s t r a l w o r k s

turandotPlay by bertolt brecht

Première: 20 December 1979, Moscow, Taganka TheatreYuri lubimov (director)

klim samginPlay after the novel by Maxim gorki

Première: 26 February 1981, Moscow, Mayakovsky Theatreandrei goncharov (director)

spare the white BirdPlay by Nikolai MiroshnichenkoMusic by alfred schnittke, Yuri schwarz and Nino rota

Première: 26 November 1982, Moscow, Young spectator’s Theatrevitali Fridman (director)

117


the devilsPlay after Fyodor Dostoevsky’s novel

Première: 16 February 1984, londonYuri lyubimov (director)

lord of the fliesPlay after William golding’s novelMusic by alfred schnittke and Dmitri Pokrovsky

Première: 27 July 1986, leningrad, small Drama Theatrelev Dodin (director)

the Beggar or sand’s deathPlay by Yuri olesha

Première: 5 september 1986, Moscow, Miniature TheatreMikhail levitin (director)

i am poor sosoPlay by viktor korkia

Première: May 1988, Moscow, state university Theatreevgeni slavutin (director)

the mandatePlay by Nikolai erdmanMusic by alfred schnittke and Dmitri shostakovich

Première: 21 september 1988, Moscow, Central Theatre of the soviet armyalexander burdonsky (director)

a feast in time of plaguePlay by alexander Pushkin


118

doctor zhivagoPlay after boris Pasternak’s novel



119

t h e o r e t i c a l w o r k s s e l e c t i o n

■notes on the orchestral polyphony in dmitri shostakovich’s fourthsymphony

in: ‘Muzyka i sovremennost’ [Music and the Present age], No. 4, Moscow, 1966

■some features of the orchestral harmonisation of themes in dmitri shostakovich’ssymphonic works

in: ‘Dmitri shostakovich’, Moscow, 1967

■the orchestral harmonisation of themes in the early works of stravinsky

in: ‘Muzyka i sovremennost’, No. 5, Moscow, 1967

■edison denisov

in: ‘res facta’, No. 6, Cracow, 1972 (in Polish)

■paradoxicality as a feature of stravinsky’s musical logic

in: ‘i. F. stravinsky’, Moscow, 1973

■collage and polystylistics

‘Muzykalnye kultury narodov. Traditsii i sovremennost’ [The Musical Culture of Diffe-rent Peoples. Tradition and the Present age], Moscow, 1973

■special features of sergei prokofiev’s orchestral harmonisation of themes

in: ‘Muzyka i sovremennost’, No. 8, Moscow, 1974

■circles of influence

in: ‘Dmitri shostakovich’, Moscow, 1976

■embodying a new idea

‘Problemy traditsii i novatorstva v sovremennoi muzyke’ [Problems of Tradition and innovation in Modern Music], Moscow, 1982

120

t h e o r e t i c a l w o r k s s e l e c t i o n

■thoughts on sergei prokofiev

‘Festvortrag zur eröffnung des internationalen Prokofjew-Festivals am 16. september 1990 in Duisburg’ [inaugural address to the Duisburg international sergei Prokofiev Festival on 16 september 1990] sik 1507, hamburg, 1990

■overcoming metre by rhythm

Manuscript

■ligeti’s orchestral micropolyphony

Manuscript

■stereophonic tendencies in modern orchestral thinking

Manuscript

■static form. a new conception of time

Manuscript

■the third movement of luciano Berio’s symphony. stylistic counterpoint Thematic and Formal unity in the Context of Polystylistics. expansion of the Concept of Theme

Manuscript

■klangfarbenmelodie [Melody of Timbres]

Manuscript

■ infinitely interlocking timbre ties in a fugue (ricercata) by Bach-webern

Manuscript

■timbre modulations in Bartók’s ‘music for strings, percussion and celesta’

Manuscript

■timbre affinity and its functional utilisation. timbre scale

Manuscript

121

c h r o n o l o g i c a l w o r k l i s t

1 9 4 9

■ concerto for accordion and orchestra . . . . . . . . . . . . . . . . . . . . . 38

1 9 5 3

■ fugue for solo violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

■ the passing line of clouds grows thinner for voice and piano . . . . . 48

■ poem for piano and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

1 9 5 4

■ seven preludes and fugue for piano . . . . . . . . . . . . . . . . . . . . . . . . . 81

1 9 5 5

■ intermezzo for piano quintet [1954-1955] . . . . . . . . . . . . . . . . . . . . . . . . . 65

■ scherzo for piano quintet, later set for orchestra [1954-1955] . . . . . . . . . . . 21, 65

■ sonata 1955 for viol in and piano [1954-1955] . . . . . . . . . . . . . . . . . . 65

■ suite for strings, later set for chamber orchestra [1954-1955] . . . . . . . . . . . . . . 21

■ three choruses for mixed choir [1954-1955] . . . . . . . . . . . . . . . . . . . . . . 48

■ three songs for voice and piano [1954-1955] . . . . . . . . . . . . . . . . . . . . . . 48

■ variat ions for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

1 9 5 7

■ concerto no. 1 for viol in and orchestra (revised in 1962) . . . . . . . . . 38

■ overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

■ symphony 1957 (no. 0) [1956-1957] . . . . . . . . . . . . . . . . . . . . . . . . . . 21

1 9 5 8

■ mayakovsky’s debut [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . 115

■ nagasaki oratorio for mezzo-soprano, mixed choir and orchestra . . . . . . . . . . . . . . . . 49

■ vocalise for mixed choir a cappella . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

1 9 5 9

■ songs of war and peace Cantata for soprano, mixed choir and orchestra . . . . . . . . . . . . . . . . . . . . . . 49

■ string Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

122


1 9 6 0

■ concerto for electric instruments . . . . . . . . . . . . . . . . . . . . . . . . . 60

■ concerto for piano and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 38

1 9 6 1

■ poem about the universe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

1 9 6 2

■ the eleventh commandment opera in two acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

■ introduction [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ the rose and the cross [film music] . . . . . . . . . . . . . . . . . . . . . . . . . 99

■ suite for children for small orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 22

1 9 6 3

■ prelude and fugue for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

■ sonata no. 1 for viol in and piano . . . . . . . . . . . . . . . . . . . . . . . . . 65

1 9 6 4

■ aim the Barrage at us [film music 1963-1964] . . . . . . . . . . . . . . . . . . . . 99

■ music for chamber orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

■ music for piano and chamber orchestra . . . . . . . . . . . . . . . . . . . . 39

1 9 6 5

■ the adventures of a dentist [film music]. . . . . . . . . . . . . . . . . . . 92, 105

■ the concealed caballero [film music] . . . . . . . . . . . . . . . . . . . . . . . . 99

■ improvisat ion and fugue for piano . . . . . . . . . . . . . . . . . . . . . . . . . . 82

■ somebody’s li fe [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

■ three poems of marina tsvetaeva for (mezzo)-soprano and piano . . . . . 50

■ variat ions on a chord for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

123


1 9 6 6

■ the colonel’s widow [incidental music] . . . . . . . . . . . . . . . . . . . . . . . 115

■ concerto no. 2 for viol in and chamber orchestra . . . . . . . . . . . . 39

■ just a litt le joke [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ string Quartet no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

1 9 6 7

■ the commissar (Die kommissarin / in the Town of berdichev) [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92, 106

■ dialogue for violoncello and seven instrumentalists [1965-1967] . . . . . . . . . . . 60

1 9 6 8

■ the angel [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ day stars [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ the glass harmonica [film music] . . . . . . . . . . . . . . . . . . . . . . . . 102, 106

■ the night call [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

■ the ownerless house [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ pianissimo for orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

■ serenade for violin, clarinet, double bass, piano and percussion . . . . . . . . . . 61

■ the sixth of july [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

■ sonata for viol in and chamber orchestra . . . . . . . . . . . . . . . . . . . 39

■ sonata no. 2 for viol in and piano ‘Quasi una sonata’ . . . . . . . . . . . . . 66

■ used cartridge cases [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

1 9 6 9

■ a Ballerina aboard [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

■ Boris godunov [incidental music late 1960s] . . . . . . . . . . . . . . . . . . . . . . 115

■ sick at heart [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

■ stream [electronic music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

■ the waltz [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99, 107

1 9 7 0

■ way of the cross [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . 115

124


1 9 7 1

■ Belorussian stat ion [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

■ canon in memoriam igor stravinsky for string quartet . . . . . . . . . . . . . 66

■ a cottage in kolomna [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . 99

■ double concerto for oboe, harp and strings . . . . . . . . . . . . . . . . 40

■ labyrinths ballet in five episodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

■ the last run of the ‘albatross’ [film music] . . . . . . . . . . . . . . . . . . . . 99

■ litt le pieces for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

■ our gagarin [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

■ the seagull [film music]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

■ sport, sport, sport [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . 93, 108

■ uncle vanya [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93, 107

■ verses written in the sleeplessness of the night for voice and piano . 50

■ the wardrobe [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

1 9 7 2

■ the Butterf ly [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

■ cheer up, the worst is yet to come [film music] . . . . . . . . . . . . . . 102

■ chile fights and hopes [film music] . . . . . . . . . . . . . . . . . . . . . . . . 104

■ the strange litt le frog (The Funny Merry-go-round No. 4) [film music] . . . . . . . . . . . . . . . . 102

■ suite in the old style for violin and piano (harpsichord) . . . . . . . . . . . . . 67

■ symphony no. 1 [1969-1972] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

■ voices of nature for ten female voices and vibraphone . . . . . . . . . . . . . . 50

■ you and me [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

1 9 7 3

■ the arduous roads of peace (The balance of Terror) [film music] . . 104

■ hot snow [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

■ in fableworld [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

■ my past and my thoughts (Die vergangenheit und die gedanken) [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99, 109

■ the right to jump [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

■ where the arbat crosses Bubulinas street [film music] . . . . . . . . . . . 93

125


1 9 7 4

■ agony [film music, part one] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 109

■ the captain’s daughter [film music] . . . . . . . . . . . . . . . . . . . . . . . . . 94

■ cities and years [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

■ der gelbe klang (The Yel low sound) Multimedia motion theatre [1973-1974] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

■ gratulat ionsrondo (Congratulatory rondo) for violin and piano . . . . . . 68

■ the world today (and Yet i bel ieve) [film music] [1972-1974] . . . . . . . . . 94

1 9 7 5

■ autumn [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

■ cadenza to W. a. Mozart’s Piano Concerto in C minor, k. 491 . . . . . . . . . . . 87

■ cantus perpetuus for keyboard instrument and five percussionists . . . . . . . . 68

■ the cherry orchard [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

■ eight songs for voice and piano or guitar from the incidental music to ‘Don Carlos’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

■ pantomime suite for chamber orchestra after W. a. Mozart’s Fragment k. 416d . . . . . . . . . 89

■ prelude in memoriam dmitri shostakovich for two violins or for violin and tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

■ requiem for soloists, mixed choir and instrumental ensemble from the incidental music to ‘Don Carlos’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ rikki-tikki-tavi [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 110

126


1 9 7 6

■ the ascent [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 110

■ caesar and cleopatra [incidental music] . . . . . . . . . . . . . . . . . . . . . . . 115

■ clowns and kids [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 110

■ don carlos (incidental music) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

■ how tsar peter got the Black man married (Wie Zar Peter seinen Mohren verheiratete) [film music] . . . . . . . . . . . . . . . . . . . . 95, 111

■ minuet for two violins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

■ moz-art for two violins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

■ piano Quintet [1972-1976] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

■ selecting a target [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

■ der sonnengesang des franz von assis i (The Canticle of the sun by st . Francis of assis i) for two mixed choirs and six instruments . . . . . . . . 52

■ trainers [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

■ two preludes for small orchestra [d m i t r i s h o s ta k o v i c h] . . . . . . . . . 89

■ the white steamer [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

1 9 7 7

■ concerto grosso no. 1 for two violins, harpsichord, prepared piano and strings . . . . . . . . . . . . . . . . 41

■ human requital [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

■ hymns i-iv for instrumental ensemble [1974-1977] . . . . . . . . . . . . . . . . . . . 70

■ the life-story of an unknown actor (Die lebensgeschichte eines unbekannten schauspielers) [film music] . . . . . . . . . . . . . . . . 95, 111

■ magdalena’s song for soprano and piano . . . . . . . . . . . . . . . . . . . . . . . 53

■ moz-art à la haydn Play on music for two violins, two small string orchestras, double bass and conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

■ my memories take me to you [film music] . . . . . . . . . . . . . . . . . . . . 96

■ Queen of spades (Pique Dame) [p y o t r t c h a i k o w s k y] . . . . . . . . . . . . . 90

■ three cadenzas to beethoven’s violin Concerto in D major, op. 61 [1975/1977] 87

■ travka’s adventures [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

127

1 9 7 8

■ concerto no. 3 for viol in and chamber orchestra . . . . . . . . . . . . 41

■ a duck shooting party [incidental music] . . . . . . . . . . . . . . . . . . . . . . 116

■ father sergei [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

■ in memoriam for orchestra [1977-1978] . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ the inspector ’s tale [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . 116

■ sonata no. 1 for violoncello and piano . . . . . . . . . . . . . . . . . . . . . 71

■ sti l le nacht for violin and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

1 9 7 9

■ concerto for piano and string orchestra . . . . . . . . . . . . . . . . . . . . 41

■ the fancies of faryatyev [film music] . . . . . . . . . . . . . . . . . . . . . . . 100

■ homage to igor stravinsky, sergei prokofiev and dmitri shostakovich for piano six-hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

■ paradoxes of evolution [film music] . . . . . . . . . . . . . . . . . . . . . . . . . 104

■ polyphonic tango for chamber ensemble . . . . . . . . . . . . . . . . . . . . . . . 62

■ sti l le musik for violin and violoncello . . . . . . . . . . . . . . . . . . . . . . . . . . 72

■ symphony no. 2 ‘st. Florian’ for chamber choir and orchestra . . . . . . . . . . 24

■ turandot [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

1 9 8 0

■ gogol suite suite from the incidental music to ‘The inspector’s Tale’ . . . . . . . . . . . . . . . . 25

■ larisa [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

■ litt le tragedies [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 112

■ moz-art for oboe, harp, harpsichord, violin, violoncello and double bass . . . . 62

■ my favourite time [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

■ passacagl ia for orchestra [1979-1980] . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

■ polka for violin and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72


■ the plane crew [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

■ three madrigals for soprano, violin, viola, double bass, vibraphone and harpsichord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

■ three scenes for soprano and percussion ensemble . . . . . . . . . . . . . . . . . 53

■ two cadenzas to W. a. Mozart’s Piano Concerto in C major, k. 467 . . . . . . . 87

■ two short pieces for organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84


128

1 9 8 1

■ agony [film music, part two] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 96, 109

■ cantus perpetuus for percussion, keyboard instruments and strings . . . . . . . 26

■ eugene onegin [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

■ i am with you again [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . 103

■ klim samgin [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

■ minnesang for 52 voices [1980-1981] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

■ symphony no. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

■ what does Babirussya need tusks for? [film music] . . . . . . . . . . . . 104

1 9 8 2

■ a paganini for solo violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

■ autumn [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

■ concerto grosso no. 2 for violin, violoncello and orchestra [1981-1982] . . . . 42

■ the crab for brass ensemble and percussion . . . . . . . . . . . . . . . . . . . . . . 63

■ lebenslauf for four metronomes, three percussionists and piano . . . . . . . . . . 73

■ pencil and eraser (The Funny Merry-go-round No. 12) [film music] . . . . . . . . . . . . . . . 103

■ septet for flute, two clarinets, violin, viola, violoncello, harpsichord (or organ) [1981-1982] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

■ star fal l [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

■ spare the white Bird [incidental music] . . . . . . . . . . . . . . . . . . . . . . . 116

■ sturdy Boy [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

■ the tale of wanderings (Das Märchen der Wanderungen) [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96, 112

1 9 8 3

■ cadenza to W. a. Mozart’s Piano Concerto in C major, k. 503 . . . . . . . . . . . 87

■ the darl ing of the audience [film music] . . . . . . . . . . . . . . . . . . . . . 97

■ the leave-taking [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

■ schall und hall for trombone and organ . . . . . . . . . . . . . . . . . . . . . . . . 73

■ seid nüchtern und wachet . . . Cantata for contralto, counter-tenor, tenor, bass, mixed choir and orchestra . . . . 27


■ two cadenzas to W. a. Mozart’s bassoon Concerto in b flat major, k. 191 . . . 88


129

1 9 8 4

■ Beschwörung for mezzo-soprano and orchestra [f r i e d r i c h n i e t z s c h e] . . . . . 91

■ concerto no. 4 for viol in and orchestra . . . . . . . . . . . . . . . . . . . . 42

■ dead souls [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 113

■ the devils [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

■ ragtime for orchestra [s c o t t j o p l i n] . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

■ serenade for mezzo-soprano and orchestra [a d o l f j e n s e n] . . . . . . . . . . . . . 90

■ symphony no. 4 for soprano, alto, tenor, bass and chamber orchestra . . . . . 28

■ the white poodle [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

■ three sacred hymns for mixed choir . . . . . . . . . . . . . . . . . . . . . . . . . 55

1 9 8 5

■ canon ‘an das frankfurter opernhaus’ for nine strings . . . . . . . . . . . . 91

■ concerto for choir [1984-1985] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

■ concerto for viola and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 43

■ concerto grosso no. 3 for two violins and chamber orchestra . . . . . . . . . 43

■ (k )ein sommernachtstraum for orchestra . . . . . . . . . . . . . . . . . . . . . . 29

■ music to an imaginary play for ensemble . . . . . . . . . . . . . . . . . . . . . . 64

■ ritual for orchestra [1984-1985] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

■ sketches Choreographic fantasia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

■ string trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

1 9 8 6

■ the Beggar or sand’s death [incidental music] . . . . . . . . . . . . . . . . . . 117

■ concerto no. 1 for violoncello and orchestra [1985-1986] . . . . . . . . 44

■ peer gynt ballet in three acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

■ lord of the fl ies [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 117


130

1 9 8 7

■ canon ‘an das frankfurter opernhaus’ for violin and strings [1985/1987] . 91

■ epilogue from ‘peer gynt’ for mixed choir and orchestra . . . . . . . . . . . . 29

■ Quasi una sonata for violin and chamber orchestra . . . . . . . . . . . . . . . . . 44

■ sonata no. 1 for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

1 9 8 8

■ the Balcony [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

■ concerto for piano four-hands and chamber orchestra . . . . . . . . 45

■ concerto grosso no. 4 – symphony no. 5 . . . . . . . . . . . . . . . . . . . 30

■ drei gedichte von viktor schnittke (Three Poems of viktor schnit tke) for tenor and piano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

■ four aphorisms for orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

■ i am poor soso [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

■ klingende Buchstaben (sounding let ters) for violoncello solo . . . . . . . 79

■ the mandate [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

■ piano Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

■ pushkin’s poetry [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

■ twelve penitential psalms (Zwölf bußverse) for mixed choir . . . . . . . . 57

1 9 8 9

■ and a light is shining through the darkness [film music] . . . . . . . . 101

■ a feast in time of plague [incidental music] . . . . . . . . . . . . . . . . . . . . 117

■ incident at vichy [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

■ opening verse for the first fest ival sunday (eröf fnungsvers zum ersten Festspielsonntag) for mixed choir and organ . . . . . . . . . . . . . 57

■ monologue for viola and strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45


■ variat ions for string quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

■ visitor of a museum [film music] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

■ 3 x 7 for clarinet, horn, trombone, harpsichord, violin, violoncello and double bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64


131

1 9 9 0

■ concerto no. 2 for violoncello and orchestra . . . . . . . . . . . . . . . 46

■ five aphorisms for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

■ madrigal in memoriam oleg kagan for violin or violoncello solo . . . . . . 80

■ moz-art à la mozart for eight flutes and harp . . . . . . . . . . . . . . . . . . . . 64

■ russia – love for this country [film music] . . . . . . . . . . . . . . . . . . . . 97


■ three fragments for harpsichord . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

■ two cadenzas to W. a. Mozart’s Piano Concerto in b flat major, k. 39 . . . . . 88

1 9 9 1

■ concerto grosso no. 5 for violin, piano and orchestra . . . . . . . . . . . . . . 46

■ fest ive chant for violin, piano, mixed choir and orchestra . . . . . . . . . . . . . 31

■ herrn alfred schlee zum 90. geburtstag for viola solo . . . . . . . . . . . 80

■ life with an idiot (leben mit einem idioten) opera in two acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

■ sutart ines for percussion, organ and strings . . . . . . . . . . . . . . . . . . . . . . . 31

1 9 9 2

■ agnus dei for two sopranos, female choir and chamber orchestra . . . . . . . . . 31

■ the last days of st . petersburg [film music] . . . . . . . . . . . . . . . . 97, 113

■ musica nostalgica for violoncello and piano . . . . . . . . . . . . . . . . . . . . . 76

■ piano trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76


■ symphony no. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32


132

1 9 9 3

■ concerto grosso no. 6 for piano, violin and strings . . . . . . . . . . . . . . . . 47

■ doctor zhivago [incidental music] . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

■ gesualdo opera in seven tableaux, a prologue and an epilogue . . . . . . . . . . . . . . . . . 19

■ epilogue for violoncello, piano and performance CD . . . . . . . . . . . . . . . . . 76

■ hommage à grieg for orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

■ hommage à zhivago Musical allegory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

■ improvisat ion for solo violoncello . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

■ the master and margarita [film music] . . . . . . . . . . . . . . . . . . . . 98, 114

■ mutter (Mother) for mezzo-soprano and piano . . . . . . . . . . . . . . . . . . . . 58

■ symphony no. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

1 9 9 4

■ cantata for counter-tenor and chamber orchestra . . . . . . . . . . . . . . . . . . . 36

■ concerto for three (konzert zu Dri t t) for violin, viola, violoncello and string orchestra (with piano) . . . . . . . . . . . . . 47

■ five fragments Based on paintings by hieronymus Bosch for tenor, violin, trombone, harpsichord, timpani and strings . . . . . . . . . . . . . 59

■ for liverpool for orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

■ historia von d. johann fausten (The history of D. Johann Faustus) opera in three acts [1991/1994] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

■ lux aeterna for mixed choir and orchestra . . . . . . . . . . . . . . . . . . . . . . . 35

■ minuet for violin, viola and violoncello . . . . . . . . . . . . . . . . . . . . . . . . . 78

■ Quartet for four percussionists . . . . . . . . . . . . . . . . . . . . . . . . . . 77

■ sonata no. 2 for violoncello and piano . . . . . . . . . . . . . . . . . . . . 77

■ sonata no. 3 for viol in and piano . . . . . . . . . . . . . . . . . . . . . . . . . 77

■ sonatina for piano four-hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

■ symphonic prelude (sinfonisches vorspiel) for orchestra . . . . . . . . . . 34

■ symphony no. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

1 9 9 7

■ symphony no. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37


133

1 9 9 8

■ concerto for viola and orchestra (no. 2) . . . . . . . . . . . . . . . . . . . . 47

■ variat ions for string quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78


134

the adventures of a dentist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92, 105

agnus dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

agony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 96, 109

aim the Barrage at us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

and a light is shining through the darkness . . . . . . . . . . . . . . . . . . . 101

and yet i Bel ieve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

the angel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

a paganini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

the arduous roads of peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

the ascent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 110

der aufst ieg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 110

autumn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 103

the Balance of terror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

the Balcony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

a Ballerina aboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

the Beggar or sand’s death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Belorussian stat ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Beschwörung [f r i e d r i c h n i e t z s c h e] . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Boris gudunov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

the Butterf ly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

caesar and cleopatra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

cadenza to Mozart’s Piano Concerto k. 491 . . . . . . . . . . . . . . . . . . . . . . . . . . 87

cadenza to Mozart’s Piano Concerto k. 503 . . . . . . . . . . . . . . . . . . . . . . . . . . 87

canon ‘an das frankfurter opernhaus’ [a l b a n b e r g] . . . . . . . . . . . . . 91

canon in memoriam igor stravinsky . . . . . . . . . . . . . . . . . . . . . . . . . . 66

cantata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

the canticle of the sun by st . francis of assis i . . . . . . . . . . . . . . . . . . 52

cantus perpetuus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 68

the captain’s daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

cheer up, the worst is yet to come . . . . . . . . . . . . . . . . . . . . . . . . . . 102

the cherry orchard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

chile fights and hopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

cities and years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

clowns and kids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 110

t i t l e l i s t i n g

135

collected songs where every verse is fi l led with grief . . . . . . . . . . . 55

the colonel’s widow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

the commissar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92, 106

the concealed caballero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

concerto for accordion and orchestra . . . . . . . . . . . . . . . . . . . . . . . . 38

concerto for choir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

concerto for electric instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

concerto for piano and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

concerto for piano and string orchestra . . . . . . . . . . . . . . . . . . . . . . . 41

concerto for piano four-hands and chamber orchestra . . . . . . . . . . . 45

concerto for three . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

concerto for viola and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

concerto for viola and orchestra (no. 2) . . . . . . . . . . . . . . . . . . . . . . . 47

concerto grosso no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40



concerto grosso no. 4 – symphony no. 5 . . . . . . . . . . . . . . . . . . . . . . 30



concerto no. 1 for viol in and orchestra . . . . . . . . . . . . . . . . . . . . . . . 38

concerto no. 2 for viol in and chamber orchestra . . . . . . . . . . . . . . . 39

concerto no. 3 for viol in and chamber orchestra . . . . . . . . . . . . . . . 41

concerto no. 4 for viol in and orchestra . . . . . . . . . . . . . . . . . . . . . . . 42

concerto no. 1 for violoncello and orchestra . . . . . . . . . . . . . . . . . . 44

concerto no. 2 for violoncello and orchestra . . . . . . . . . . . . . . . . . . 46

congratulatory rondo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

a cottage in kolomna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

the crab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

the darl ing of the audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

day stars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

dead souls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 113

the devils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

doctor zhivago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

don carlos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116


136

double concerto for oboe, harp and strings . . . . . . . . . . . . . . . . . . . 40

drei gedichte von viktor schnittke . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

a duck shooting party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

eight songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

the eleventh commandment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

epilogue from ‘peer gynt’ for mixed choir and orchestra . . . . . . . . . . . . . . . 29

epilogue for violoncello, piano and performance CD . . . . . . . . . . . . . . . . . . . . 76

eröffnungsvers zum ersten festspielsonntag . . . . . . . . . . . . . . . . . . . . 57

eugene onegin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

the fancies of faryatev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

father sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

a feast in time of plague . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

fest ive chant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

fest l icher cantus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

five aphorisms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

five fragments based on paintings by hieronymus Bosch . . . . . . . . . . 59

for liverpool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

four aphorisms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

the funny merry-go-round no. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

the funny merry-go-round no. 12 . . . . . . . . . . . . . . . . . . . . . . . . . . 103

der gelbe klang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

gesualdo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

the glass harmonica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102, 106

gogol suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

gratulat ionsrondo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

herrn alfred schlee zum 90. geburtstag . . . . . . . . . . . . . . . . . . . . . . . 80

historia von d. johann fausten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

the history of dr. johann faustus . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

hommage à grieg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

homage to igor stravinsky, sergei prokofiev and dmitri shostakovich . . 83

hommage à zhivago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18


137

hot snow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

how tsar peter got the Black man married . . . . . . . . . . . . . . . . . . . 95, 111

human requital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

hymns i-iv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

i am poor soso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

i am with you again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

improvisat ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

improvisat ion and fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

incident at vichy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

in fableworld . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

in memoriam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

the inspector ’s tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

intermezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

in the town of Berdichev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92, 106

introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

just a litt le joke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

(k )ein sommernachtstraum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

klim samgin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

klingende Buchstaben . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

die kommissarin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92, 106

konzert zu dritt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

labyrinths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

larisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

the last days of st . petersburg . . . . . . . . . . . . . . . . . . . . . . . . . . . 97, 113

the last run of the ‘albatross’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

the leave-taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

leben mit einem idioten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

die lebensgeschichte eines unbekannten schauspielers . . . . . . . . 95, 111

lebenslauf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

the life-story of an unknown actor . . . . . . . . . . . . . . . . . . . . . . . 95, 111

life with an idiot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

litt le pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83


138

litt le tragedies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 112

lord of the fl ies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

the lucky man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

lux aeterna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

madrigal in memoriam oleg kagan . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

das märchen der wanderungen . . . . . . . . . . . . . . . . . . . . . . . . . . . 96, 112

magdalena’s song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

the mandate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

the master and margarita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98, 114

mayakovsky’s debut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

minnesang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

minuet for two violins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

minuet for violin, viola and violoncello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

monologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

moz-art for oboe, harp, harpsichord, violin, violoncello and double bass . . . . . . . 62

moz-art for two violins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

moz-art à la haydn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

moz-art à la mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

musica nostalgica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

music for chamber orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

music for piano and chamber orchestra . . . . . . . . . . . . . . . . . . . . . . . 39

music to an imaginary play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

mutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

my favourite time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

my memories take me to you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

my past and my thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99, 109

nagasaki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

the night call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

opening verse for the first fest ival sunday . . . . . . . . . . . . . . . . . . . . 57

our gagarin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

the ownerless house . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92


139

paradoxes of evolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

passacagl ia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

peer gynt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

pencil and eraser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

pianissimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

piano Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

piano Quintet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

piano trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

pique dame [p y o t r t c h a i k o v s k y] . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

the plane crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

poem about the universe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

polka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

polyphonic tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

prelude and fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

prelude in memoriam dmitri shostakovich . . . . . . . . . . . . . . . . . . . . . 69

pushkin’s poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Quartet for four percussionists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Quasi una sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44, 66

Queen of spades [p y o t r t c h a i k o v s k y ] . . . . . . . . . . . . . . . . . . . . . . . 90

ragtime [s c o t t j o p l i n ]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

rikki-tikki-tavi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 110

the right to jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

ritual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

the rose and the cross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

russia – love for this country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

schall und hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 65

the seagull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

selecting a target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

septet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63


140

seid nüchtern und wachet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

serenade [a d o l f j e n s e n ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

seven preludes and fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

sick at heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

sinfonisches vorspiel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

the sixth of july . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

somebody’s li fe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

sonata for viol in and chamber orchestra . . . . . . . . . . . . . . . . . . . . . . 39

sonata no. 1 for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84



sonata no. 1 for viol in and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

sonata no. 2 for viol in and piano ‘Quasi una sonata’ . . . . . . . . . . . . . 66

sonata no. 3 for viol in and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

sonata 1955 for viol in and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

sonata no. 1 for violoncello and piano . . . . . . . . . . . . . . . . . . . . . . . . 71

sonata no. 2 for violoncello and piano . . . . . . . . . . . . . . . . . . . . . . . . 77

sonatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

songs of war and peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

der sonnengesang des franz von assis i . . . . . . . . . . . . . . . . . . . . . . . . 52

sounding letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

spare the white Bird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

sport, sport, sport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93, 108

star fal l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

sti l le musik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

sti l le nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

the strange litt le frog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

string Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

string Quartet no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66




string trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74


141

sturdy Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

suite for children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

suite in the old style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

suite of fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

sutart ines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

symphonic prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

symphony no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

symphony no. 2 ‘s t . Flor ian’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

symphony no. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

symphony no. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

symphony no. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

symphony no. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

symphony no. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

symphony no. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

symphony 1957 (no. 0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

the tale of wanderings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96, 112

the passing line of clouds grows thinner . . . . . . . . . . . . . . . . . . . . . 48

three cadenzas to beethoven’s violin Concerto op. 61 . . . . . . . . . . . . . . . . . . 87

three choruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

three fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

three madrigals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

three poems of marina tsvetayeva . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

three poems of viktor schnittke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

three sacred hymns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

three scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

three songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

trainers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

travka’s adventures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

trio sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

turandot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

twelve penitential psalms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

two cadenzas to Mozart’s bassoon Concerto k. 191 . . . . . . . . . . . . . . . . . . . . 88

two cadenzas to Mozart’s Piano Concerto k. 39 . . . . . . . . . . . . . . . . . . . . . . 88

two cadenzas to Mozart’s Piano Concerto k. 467 . . . . . . . . . . . . . . . . . . . . . 87


142


two preludes for small orchestra [d m i t r i s h o s t a k o v i c h] . . . . . . . . . 89

two short pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

uncle vanya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93, 107

used cartridge cases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

variat ions for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

variat ions for sting quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

variat ions on a chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

die vergangenheit und die gedanken . . . . . . . . . . . . . . . . . . . . . . 99, 109

verses written in the sleeplessness of the night . . . . . . . . . . . . . . . . . 51

visitor of a museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

vocalise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

voices of nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

the waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99, 107

the wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

way of the cross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

what does Babirussya need tusks for? . . . . . . . . . . . . . . . . . . . . . . . 104

. . . where every verse is fi l led with grief . . . . . . . . . . . . . . . . . . . . . 55

where the arbat crosses Bubulinas street . . . . . . . . . . . . . . . . . . . . . . 93

the white poodle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

the white steamer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

wie zar peter seinen mohren verheiratete . . . . . . . . . . . . . . . . . . 95, 111

the world today . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

the yellow sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

you and me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

zwölf Bußverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

3 x 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Documents

Alfred Schnittke